英和和英

形容詞

medievaloid (comparative more medievaloid, superlative most medievaloid)

1. Having the likeness of the Middle Ages.
   • 1973, Leo Davids, “North American Marriage: 1990”, in Judson R. Landis, editor, Current Perspectives on Social Problems, 3rd edition, Belmont, Calif.: Wadsworth Publishing Company, Inc., →ISBN, section 5 (Family Change and Problems), page 183:

     As to the age difference between husbands and wives, which is essentially based on the patriarchal tradition that the man is the “senior” in the home, it will probably disappear in the case of all forms of marriage other than the classic familistic one; there, where people have explicitly decided that the kind of marriage they want is the same as their parents had back in the medievaloid 1970s, or the ancient 1960s, the husband will continue to be a few years older than his wife.

   • 1990 July, Robert Killheffer, “Prentice Alvin by Orson Scott Card”, in The New York Review of Science Fiction, number 23, page 20, column 1:

     Dearly as I love the flavor of medieval Europe, I sympathize with those who find the endless monotony of uninventive, limp and lifeless medievaloid trilogies tiresome, and I approached [Orson Scott] Card’s books from the very first with high hopes.

   • 1993 December, Tom Easton, “The Reference Library”, in Analog Science Fiction and Fact, volume CXIII, number 14, page 167, column 1:

     Yet their mock-heroic novel of medievaloid enchantment does lie enough toward the hilarious end of the spectrum to let me say that if you think you would love the result of a collaboration between J. R. R. Tolkien and P. G. Wodehouse, you’ll love this one.

   • 1994, John Bentley Mays, Emerald City: Toronto Visited, Toronto, Ont.: Viking, →ISBN, page 118:

     (Sceptics should be aware that neo-Gothic has definitely been in at least since 1987, when Philip Johnson and Raj Ahuaja’s medievaloid, spired and piered IBM Tower opened in Atlanta.)

   • 2002, Gwyneth Jones, Castles Made of Sand, London: Gollancz, →ISBN, page 414:

     Then he decided to offer the box, pushing it across the massive, mediaevaloid coffee table that stood between them.

   • 2003, Edith S. Tyson, Orson Scott Card: Writer of the Terrible Choice (Scarecrow Studies in Young Adult Literature; 10), Lanham, Md.: The Scarecrow Press, Inc., →ISBN, pages 119 and 151:

     [Orson Scott] Card says, “I could have written Songmaster as a fantasy and set it in Europe in 1312. . . . I wouldn’t have to change anything but the word spaceship.” But Card didn’t do the story as a medievaloid fantasy because of the publishing practices of the time. For most editors “fantasy” had to have magic creatures—gnomes, elves, and so forth—and that was not what Card wanted here. […] The illustrations are a combination of medievaloid and modern. The magic mirror is sometimes an old-fashioned large oval looking glass and sometimes an Internet screen.

   • 2005, Mercedes Lackey, Rosemary Edghill, Music to my Sorrow, Riverdale, N.Y.: Baen Books, published 2007, →ISBN, page 332:

     Besides, there were none of the other medievaloid trappings that the SCAdians tended to bedeck their vehicles with. No “I Stop For Dragons” bumper stickers, no rack of rattan weapons tied to the back, or pavilion lashed down to the top.