چکیده (انگلیسی):

Eitan Bar-Yosef selects "a memorable" image published in Punch in 1917 for the hard cover of his book, The Holy
Land in English Culture: 1799-1917: Palestine and the Question of Orientalism, which captioned "The Last Crusade."
It manifests a drawing of the historical Richard Coeur de Lion looking down from up a mountain towards a lower
positioned Jerusalem with one hand on his sword, and the other on his armor. According to Punch it expresses 'My
dream comes true!'(Punch, 153 (19 Dec., 1917), 415). In Bar-Yosef's words, this "epitomized the great achievement,"
(247) referring to the celebration of the historical surrendering of Jerusalem on 9 December 1917 by the British forces
under the leadership of Edmund Allenby. This image restores the cultural and historical heritage of the Western
Medieval Holy Wars into the British Modern existence. Though Bar-Yosef focuses on the"limited currency of the
Crusading theme," (250), concerning its relevance to the construction of the Holy Land in English culture, he shows
how this illustration depicts a widespread British phenomenon, what he calls the "Crusading mania," which appears in
different textual forms in the Westernculture. More specifically, he shows how the same idea is articulated in different
expressions in the British media: "Khaki Crusaders" (1919), "Temporary Crusaders" (1919), "The Modern Crusaders"
(1920), "The Last Crusade" (1920), "With Allenby's Crusaders" (1923), and so forth, without offeringany"variation on
the theme."