- Sep 22, 2013
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The fabled English kingdom of Camelot (led by the authoritative and legendary King Arthur) has given the world many creative works of lore, such as John Boorman's searing film Excalibur.
Arthur was a man who had to rise to prominence with bravado and wit and created a prophetic 'Round Table' of knights were democratic honors were afforded and paved the way for future 'models' of pro-populism political rhetoric.
Arthur faced great rivals (e.g., Mordred) and controversies within his own kingdom (e.g., Lancelot-Guinevere), but overall, Camelot serves as a paragon of social idealism (in terms of governance-choreography), which is why the 'fabled' U.S. Presidency of John F. Kennedy (considered a great example of the triumph of American democracy rhetoric) was sometimes called colloquially 'Camelot.'
Camelot therefore, like any other great 'folklore monolith realm/province' (e.g., Troy, Atlantis, Oz, Athens), is a sort of 'socialization trophy' (or idol!). Being wary of crude 'idol-worship,' we can at least consider how the Utopianism created by Camelot folklore from Arthur's time (which some historians have studied as a real historical occurrence!) encourages us to consider the 'romanticism' behind ethics, governance ideology, culture totems, and general social justice. History should be fun for both historians and students!
After all, don't we like making historical interpretation-hyperbole films such as The Last Temptation of Christ? Such a question is surprisingly symbolic for this modern age of dialogue-engaged 'interactive education' (e.g., Watch Mr. Wizard, Judgment at Nuremberg, etc.) which encourages 'proactive revisionism storytelling' (e.g., Birth of a Nation).
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Arand was a handsome European-American travelling in France when he met the beautiful American heiress Shelbye and they really hit it off. Arand and Shelbye went everywhere and saw everything and remembered most of all a very bright and haunting boat-ride when the wind swept through their hair one beautiful autumn morning. They remembered that boat-ride with a special custom they initiated to 'honor' their love-relationship --- Sunday morning French croissant breakfast. Arand considered himself a 'love-poet.'
Meanwhile, back in the 'real world,' a nefarious gang of rabbit-mask wearing 'ghouls' calling themselves the Dead Rabbits were self-proclaimed 'rogue vigilantes' engaged in an 'eco-terrorism street crusade' which translated into the terrorizing of young couples in American cities. One day the Dead Rabbits ran into Arand and Shelbye who were walking home to Shelbye's NYC apartment from a movie-theater after watching a re-screening of John Boorman's Arthurian-lore film Excalibur.
ARAND: Why do you wish to harass me and my lover on this fine New York eve?
RABBIT: We are the Dead Rabbits, and we 'attack' fertility to honor the Earth!
ARAND: How is 'eco-terrorism' the 'cure' to mischief?
RABBIT: Well, mankind needs a good 'shock' to cure it of its complete moral apathy.
ARAND: Aren't you a fan of love stories...and forgiveness?
RABBIT: Show me a scrupulous industrialist, and I'll show you a forgiveable man.
ARAND: That's very 'knight-like' of you, but what about Romeo + Juliet?
RABBIT: We have no concern for the 'love-yarns' of yesteryear.
ARAND: Hey, to 'sear' the heart of the modern industrialist, you have to invoke 'ancient love.'
RABBIT: That's very clever; you're a 'love-poet,' but is your lover as 'keen' about corruption?
ARAND: Violence breeds violence, and great societies (e.g., Camelot) thrived on honor.
RABBIT: You're referring to teamwork, and we Dead Rabbits stand by urban terrorism.
ARAND: Terror separates the philosopher-warrior from the vandal-pirate...
RABBIT: You offend me and sear me, 'love-poet,' so I will spare you (and your lover).
ARAND: Thank you. Consider what we discussed...temper vengeance with humanism!
RABBIT: Ah, you must be a fan of those 'great' Arthurian legend. Carry on...
====
Arthur was a man who had to rise to prominence with bravado and wit and created a prophetic 'Round Table' of knights were democratic honors were afforded and paved the way for future 'models' of pro-populism political rhetoric.
Arthur faced great rivals (e.g., Mordred) and controversies within his own kingdom (e.g., Lancelot-Guinevere), but overall, Camelot serves as a paragon of social idealism (in terms of governance-choreography), which is why the 'fabled' U.S. Presidency of John F. Kennedy (considered a great example of the triumph of American democracy rhetoric) was sometimes called colloquially 'Camelot.'
Camelot therefore, like any other great 'folklore monolith realm/province' (e.g., Troy, Atlantis, Oz, Athens), is a sort of 'socialization trophy' (or idol!). Being wary of crude 'idol-worship,' we can at least consider how the Utopianism created by Camelot folklore from Arthur's time (which some historians have studied as a real historical occurrence!) encourages us to consider the 'romanticism' behind ethics, governance ideology, culture totems, and general social justice. History should be fun for both historians and students!
After all, don't we like making historical interpretation-hyperbole films such as The Last Temptation of Christ? Such a question is surprisingly symbolic for this modern age of dialogue-engaged 'interactive education' (e.g., Watch Mr. Wizard, Judgment at Nuremberg, etc.) which encourages 'proactive revisionism storytelling' (e.g., Birth of a Nation).
====
Arand was a handsome European-American travelling in France when he met the beautiful American heiress Shelbye and they really hit it off. Arand and Shelbye went everywhere and saw everything and remembered most of all a very bright and haunting boat-ride when the wind swept through their hair one beautiful autumn morning. They remembered that boat-ride with a special custom they initiated to 'honor' their love-relationship --- Sunday morning French croissant breakfast. Arand considered himself a 'love-poet.'
Meanwhile, back in the 'real world,' a nefarious gang of rabbit-mask wearing 'ghouls' calling themselves the Dead Rabbits were self-proclaimed 'rogue vigilantes' engaged in an 'eco-terrorism street crusade' which translated into the terrorizing of young couples in American cities. One day the Dead Rabbits ran into Arand and Shelbye who were walking home to Shelbye's NYC apartment from a movie-theater after watching a re-screening of John Boorman's Arthurian-lore film Excalibur.
ARAND: Why do you wish to harass me and my lover on this fine New York eve?
RABBIT: We are the Dead Rabbits, and we 'attack' fertility to honor the Earth!
ARAND: How is 'eco-terrorism' the 'cure' to mischief?
RABBIT: Well, mankind needs a good 'shock' to cure it of its complete moral apathy.
ARAND: Aren't you a fan of love stories...and forgiveness?
RABBIT: Show me a scrupulous industrialist, and I'll show you a forgiveable man.
ARAND: That's very 'knight-like' of you, but what about Romeo + Juliet?
RABBIT: We have no concern for the 'love-yarns' of yesteryear.
ARAND: Hey, to 'sear' the heart of the modern industrialist, you have to invoke 'ancient love.'
RABBIT: That's very clever; you're a 'love-poet,' but is your lover as 'keen' about corruption?
ARAND: Violence breeds violence, and great societies (e.g., Camelot) thrived on honor.
RABBIT: You're referring to teamwork, and we Dead Rabbits stand by urban terrorism.
ARAND: Terror separates the philosopher-warrior from the vandal-pirate...
RABBIT: You offend me and sear me, 'love-poet,' so I will spare you (and your lover).
ARAND: Thank you. Consider what we discussed...temper vengeance with humanism!
RABBIT: Ah, you must be a fan of those 'great' Arthurian legend. Carry on...
====
