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E-book The Juggler of Notre Dame and the Medievalizing of Modernity : The American Middle Ages
From the 1890s on, the ground for the reception of the medieval tale Our Lady’s Tumblerin the United States was readied among the elite. Yet the individuals and media involved in the projection of the story in the New World before the cultured public are only loosely comparable to those who from the 1870s on motivated the success of the medieval poem and the fin-de-siècle short story in France. Among the authors who ensured that cultivated readers would be acquainted with the narrative, one stands out: Henry Brooks Adams. He contributed in major ways to the hearty American response. Not a translator in the strict sense, but not a short story writer either, he managed through an amalgam of philosophizing and historical musing to promote the medieval minstrel. More broadly, he propelled the equally zestful Americanizing of the Middle Ages in universities, museums, and other cultural institutions in the early twentieth century. He stood out as far and away the best-known panjandrum among those of his times who helped to transmit the French poem to a large and enthusiastic readership of his countrymen.Neither a philologist like Gaston Paris nor a recognized author of fiction like Anatole France, Adams defies easy pigeonholing, professionally and personally. As a onetime historian and an on-again, off-again medievalist, he may seem an odd man to have taken up in his later years the role of Prometheus. In this guise, he rolled back the centuries to explore the Middle Ages so that he could bring forth to America what he chose to understand as their luminosity. He carried the torch of his distinctive medievalism to a world only lately afire with incandescent lighting. By just a few decades, he anticipated mushroom clouds from atomic bombs. Because his seeming clairvoyance rendered him an object of fascination to many throughout the twentieth century, he deserves our close attention. His life has much to disclose about the medievalism of the nineteenth century that prepared the way for the success of medievalesque literature and architecture in the decades to follow. Although much about him is sui generis, his conception of the Middle Ages and of the Virgin Mary as unifying counterweights to the threatening multiplicity of modernity can tell us much about why many of his countrymen embraced Our Lady’s Tumbler and why his nation rode surges of Gothicizing construction long after the vogue had ended in the Old World. To come to terms with any of these developments, we need to fathom his cultural and intellectual formation.
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