Abstract
Since its first publishing in 1937, Hal Foster’s comicepos Prince Valiant has been a main formative influence on the (popcultural) reception of medieval times. In addition to that, the protagonist became the prototype of a certain picture of the medieval knight that might in Susan Sontag’s words be described as ›camp‹. This experiment tries to show that this ›camp‹ image is not just aroused by the figure’s outward appearance, but that Foster also functionalized the gender-constellations of medieval heroic tales, arthurian romances and stories about the so-called ›Mahrtenehe‹ (marriage with an extramundane and magical being). He thus created a hero whose way to maturity can be seen as an innovative conjugation and variation of medieval narratives about ›manhood‹, ›womanhood‹ and the ›inbetween‹.
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