Open Access (free)
Susan M. Johns

archdeacon of Leicester of her grant to the canons of Drax, her son-inlaw, Robert de Gant, and daughter from her second marriage, Alice Paynel, consented to the gift and witnessed the charter. It is intriguing that the sister of Robert de Gant also witnessed.77 Another example of a female heir co-witnessing with her husband her mother’s grant of land is that of Michael Capra and his wife Roesia in 1156–62, when they witnessed a charter made by Jordan de Bricset and his wife, Muriel. Here the daughter witnessed her parents’ grant to the religious institution that they had

in Noblewomen, aristocracy and power in the twelfth-century Anglo-Norman realm
Open Access (free)
Susan M. Johns

. For example, the seal of Alice Capra depicts a female figure standing on a goat, a pun on her name.121 The seal of Cecilia, mother of William de Avranches, depicts an eagle with wings displayed, standing on a tortoise facing to the right.122 The eagle or the bird of prey as sole device was a popular development in the late twelfth and early thirteenth centuries. Agnes, the daughter of William, the Constable of Chester, may have had a seal which depicted a bird perched on a branch in 1157–66.123 In the early thirteenth century Hawise, the daughter of Philip de Kime

in Noblewomen, aristocracy and power in the twelfth-century Anglo-Norman realm
Allusion, anti-pastoral, and four centuries of pastoral invitations
Hannibal Hamlin

Theocritus (in the Greek 84 Coming of Age: New and Selected Poems (Bloomington: Indiana University Press, 1959), 56. 85 Robert Frost, A Boy’s Will (New York: Henry Holt and Company, 1915), 56–7. 86 Eros and Psyche: A Poem in Twelve Books (London: George Bell and Sons, 1894), 78. MUP_Armitage_Ralegh.indd 193 07/10/2013 14:09 194 Hannibal Hamlin too, since ‘caper’ comes from capra or goat). Since Pan sings this song ‘his pipe laid by’, Spenser is also present: in The Shepheardes Calender the rejected Colin Clout ‘broke his oaten pype’ in frustration, even though he

in Literary and visual Ralegh
Abstract only
The female love-interest and the villainess
Christine Grandy

natural intra-class pairing of the classes. See L. Metayer, ‘What the Heroine Taught, 1830–1870’, in Michael Hays and Anastasia Nikolopoulou (eds), Melodrama: The Cultural Emergence of a Genre (New York: St Martin’s Press, 1996). 31 Oppenheim, Murder at Monte Carlo, p. 18. 32 Sedgwick, Popular Filmgoing in 1930s Britain. 33 J. Hilton, Lost Horizon (London: Macmillan, 1933). Lost Horizon. DVD, dir. Frank Capra (1937; Culver City, CA: Columbia TriStar Home Video, 1999). 34 As noted before, according to Sedgwick and Harper, Mutiny on the Bounty was the second most

in Heroes and happy endings
Abstract only
Jason Jacobs

tutelage under the Southern poet and novelist whom he met at Yale, Robert Penn Warren. ‘The people I write for are all dead’, he has remarked, ‘Twain, Melville, James.’ The claim that Milch belongs in the pantheon of those artists who have captured the metabolism of American life and history in d ­ epth – ­Philip Roth, Cormac McCarthy, Nicholas Ray, Sam Peckinpah, Frank Capra, Robert Stone (some of them also carried the burden of early promise and floundered in the grip of addiction) – is not an attempt to elevate the status of either him or television through

in David Milch