"Deor" Legends
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Violence, Christianity, and the Anglo-Saxon Charms Laurajan G
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1-1-2011 Violence, Christianity, And The Anglo-Saxon Charms Laurajan G. Gallardo Eastern Illinois University This research is a product of the graduate program in English at Eastern Illinois University. Find out more about the program. Recommended Citation Gallardo, Laurajan G., "Violence, Christianity, And The Anglo-Saxon Charms" (2011). Masters Theses. 293. http://thekeep.eiu.edu/theses/293 This Thesis is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. *****US Copyright Notice***** No further reproduction or distribution of this copy is permitted by electronic transmission or any other means. The user should review the copyright notice on the following scanned image(s) contained in the original work from which this electronic copy was made. Section 108: United States Copyright Law The copyright law of the United States [Title 17, United States Code] governs the making of photocopies or other reproductions of copyrighted materials. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the reproduction is not to be used for any purpose other than private study, scholarship, or research. If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that use may be liable for copyright infringement. This institution reserves the right to refuse to accept a copying order if, in its judgment, fulfillment of the order would involve violation of copyright law. -
Anglo-Saxon Magic
PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is a publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/107198 Please be advised that this information was generated on 2021-10-09 and may be subject to change. ANGLO-SAXON MAGIC DOOR G. STORMS 'i-GRAVENHAGE MARTINUS NIJHOFF 1948 ANGLO-SAXON MAGIC Promotori Dr. A. POMPEN Ο J.M. CENTRALE DRUKKERIJ N.V. - NIJMEGEN ANGLO-SAXON MAGIC ACADEMISCH PROEFSCHRIFT TER VERKRIJGING VAN DE GRAAD VAN DOCTOR IN DE LETTEREN EN WIJSBEGEERTE AAN DE R.K. UNIVERSITEIT TE NIJMEGEN, OP GEZAG VAN DE RECTOR MAG NIFICUS Mgr. Dr. R. R. POST, HOOGLERAAR IN DE FACULTEIT DER GODGELEERDHEID, VOLGENS BESLUIT VAN DE SENAAT IN HET OPENBAAR TE VERDEDIGEN OP VRIJDAG 4 JUNI 1948 DES NAMIDDAGS 3 UUR DOOR GODFRID STORMS GEBOREN TE SITTARD MARTINUS NIJHOFF - s-GRAVENHAGE 1948 Voor mijn Vader en mijn Vrouw TABLE OF CONTENTS PART I. CHAPTER I. Introduction 1-11. Characteristics of magic 1. Tendency to pre serve secrecy 2. Examples from O.Icel. literature 2-5. The A-S. charms reveal much more 5. The magic means consist of verbal formulas and of practices 6. Close connection between original Α-S. magic and pre-Christian religious conceptions, especially the worship of the sun 6-10, the moon 10, and the earth 11. CHAPTER II The Manuscripts 12-26. § 1. The Leechbook 12-16. § 2. The Lac nunga 16-24. Parallel passages 18-23. Anglian origin of both books 23. The Lacnunga is a very mixed collection 24. -
Intertextuality of Deor
Vol. 4(8), pp. 132-138, October, 2013 DOI: 10.5897/JLC11.080 Journal of Languages and Culture ISSN 2141-6540 © 2013 Academic Journals http://www.academicjournals.org/JLC Review Intertextuality of Deor Raimondo Murgia Tallinn University, Narva mnt 25, 10120 Tallinn, Estonia. Accepted 22 November, 2012 The Deor is a poem found in the Exeter Book and included in the Old English elegies. The main purpose of this contribution is to highlight the possible intertextual links of the poem. After an outline of the old English elegies and a brief review of the most significant passages from the elegies, this short poem will be analyzed stanza by stanza. An attempt will be made to demonstrate that the various interpretations of the text depend on particular keywords that require that the readers to share the same time and space coordinates as the author. The personal names are the most important clues for interpretation. The problem is that they have been emended differently according to the editors and that the reader is supposed to know the referent hinted by those particular names. Key words: Old English elegies, Exeter Book, Deor, intertextuality. INTRODUCTION OF THE OLD ENGLISH ELEGIES It must be underlined that the term „elegy‟ applying to old definition of Old English elegy is Greenfield‟s (1965): “a English (hereafter OE) poetry could be misleading since relatively short reflective or dramatic poem embodying a one would expect the meter of such poetry to be the contrastive pattern of loss and consolation, ostensibly same as the Greek and Latin Elegies, in which their based upon a specific personal experience or observa- elegiac distich (Pinotti, 2002) points out that in the fourth tion, and expressing an attitude towards that experience”. -
13 Reflections on Tolkien's Use of Beowulf
13 Reflections on Tolkien’s Use of Beowulf Arne Zettersten University of Copenhagen Beowulf, the famous Anglo-Saxon heroic poem, and The Lord of the Rings by J.R.R. Tolkien, “The Author of the Century”, 1 have been thor- oughly analysed and compared by a variety of scholars.2 It seems most appropriate to discuss similar aspects of The Lord of the Rings in a Festschrift presented to Nils-Lennart Johannesson with a view to his own commentaries on the language of Tolkien’s fiction. The immediate pur- pose of this article is not to present a problem-solving essay but instead to explain how close I was to Tolkien’s own research and his activities in Oxford during the last thirteen years of his life. As the article unfolds, we realise more and more that Beowulf meant a great deal to Tolkien, cul- minating in Christopher Tolkien’s unexpected edition of the translation of Beowulf, completed by J.R.R. Tolkien as early as 1926. Beowulf has always been respected in its position as the oldest Germanic heroic poem.3 I myself accept the conclusion that the poem came into existence around 720–730 A.D. in spite of the fact that there is still considerable debate over the dating. The only preserved copy (British Library MS. Cotton Vitellius A.15) was most probably com- pleted at the beginning of the eleventh century. 1 See Shippey, J.R.R. Tolkien: Author of the Century, 2000. 2 See Shippey, T.A., The Road to Middle-earth, 1982, Pearce, Joseph, Tolkien. -
Borges, Solomon and Saturn: “Un Diálogo Anglosajón Del Siglo XI” (1961)
Borges, Solomon and Saturn: “Un diálogo anglosajón del siglo XI” (1961) Miguel A. Gomes Gargamala University of Sunderland J. L. Borges’s interest in and understanding of the Old English dialogues featuring King Solomon and the pagan Saturn have hitherto received little academic attention. This article will explore Borges’s engagement with these texts and in doing so aims at contributing to recent scholarship concerning the author’s lifetime fascination with the medieval literatures of northern Europe. Particular attention will be given to Borges’s annotated translation of one of the Solomonic dialogues published in the journal of the National Library of Argentina in 1961, La Biblioteca, under the title “Un diálogo anglosajón del siglo XI”. Borges’s reasons for selecting the text as well as the Old English sources used in this translation will be explored alongside his passion towards the subject of the translated passage. Keywords: Borges; Old English; Solomon and Saturn; translation studies No aspiro a ser Esopo. Mis cuentos, como los de Las mil y una noches, quieren distraer y conmover y no persuadir. Este propósito no quiere decir que me encierre, según la imagen salomónica, en una torre de marfil. “El informe de Brodie”, J. L. Borges (OC, I: 1021)1 1 Throughout this article OC, I abbreviates Borges’s Obras completas Vol. I (1974) and, similarly, OC, II is the short form for Obras completas Vol. II (1989). Likewise, OCC will be used for citations and titles as appearing in Obras completas en colaboración (1997). Miguel A. Gomes Gargamala, Selim25 (2020): 37–60. ISSN 1132-631X / DOI: https://doi.org/10.17811/selim.25.2020.37-60 38 Miguel A. -
Old English Literature: a Brief Summary
Volume II, Issue II, June 2014 - ISSN 2321-7065 Old English Literature: A Brief Summary Nasib Kumari Student J.k. Memorial College of Education Barsana Mor Birhi Kalan Charkhi Dadri Introduction Old English literature (sometimes referred to as Anglo-Saxon literature) encompasses literature written in Old English (also called Anglo-Saxon) in Anglo-Saxon England from the 7th century to the decades after the Norman Conquest of 1066. "Cædmon's Hymn", composed in the 7th century according to Bede, is often considered the oldest extant poem in English, whereas the later poem, The Grave is one of the final poems written in Old English, and presents a transitional text between Old and Middle English.[1] Likewise, the Peterborough Chronicle continues until the 12th century. The poem Beowulf, which often begins the traditional canon of English literature, is the most famous work of Old English literature. The Anglo-Saxon Chronicle has also proven significant for historical study, preserving a chronology of early English history.Alexander Souter names the commentary on Paul's epistles by Pelagius "the earliest extant work by a British author".[2][3] In descending order of quantity, Old English literature consists of: sermons and saints' lives, biblical translations; translated Latin works of the early Church Fathers; Anglo-Saxon chronicles and narrative history works; laws, wills and other legal works; practical works ongrammar, medicine, geography; and poetry.[4] In all there are over 400 survivingmanuscripts from the period, of which about 189 are considered "major".[5] Besides Old English literature, Anglo-Saxons wrote a number of Anglo-Latin works. -
The Visual Craft of Old English Verse: Mise-En-Page in Anglo-Saxon Manuscripts
The visual craft of Old English verse: mise-en-page in Anglo-Saxon manuscripts Rachel Ann Burns UCL PhD in English Language and Literature 1 I, Rachel Ann Burns confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. Rachel Ann Burns 2 Table of Contents Abstract 8 Acknowledgements 10 Abbreviations 12 List of images and figures 13 List of tables 17 CHAPTER ONE: Introduction 18 Organisation of the page 26 Traditional approaches to Old English verse mise-en-page 31 Questions and hypotheses 42 Literature review and critical approaches 43 Terminology and methodologies 61 Full chapter plan 68 CHAPTER TWO: Demarcation of the metrical period in the Latin verse texts of Anglo-Saxon England 74 Latin verse on the page: classical and late antiquity 80 Latin verse in early Anglo-Saxon England: identifying sample sets 89 New approach 92 Identifying a sample set 95 Basic results from the sample set 96 Manuscript origins and lineation 109 Order and lineation: acrostic verse 110 3 Order and lineation: computistical verse and calendars 115 Conclusions from the sample set 118 Divergence from Old English 119 Learning Latin in Anglo-Saxon England: the ‘shape’ of verse 124 Contrasting ‘shapes’: Latin and Old English composition 128 Hybrid layouts, and the failure of lineated Old English verse 137 Correspondences with Latin rhythmic verse 145 Conclusions 150 CHAPTER THREE: Inter-word Spacing in Beowulf and the neurophysiology of scribal engagement with Old English verse 151 Thesis and hypothesis 152 Introduction of word-spacing in the Latin West 156 Previous scholarship on the significance of inter-word spacing 161 Robert D. -
321827631001.Pdf
Revista de Filología Alemana ISSN: 1133-0406 [email protected] Universidad Complutense de Madrid España KOPLOWITZ-BREIER, Anat Politics and the Representation of Women in the Nibelungenlied Revista de Filología Alemana, vol. 15, 2007, pp. 9-25 Universidad Complutense de Madrid Madrid, España Disponible en: http://www.redalyc.org/articulo.oa?id=321827631001 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto Politics and the Representation of Women in the Nibelungenlied Anat KOPLOWITZ-BREIER Bar-Ilan University [email protected] Recibido: enero de 2007 Aceptado: febrero de 2007 ABSTRACT The article examines the manner in which the female characters are represented in the Nibelungenlied by dividing them into two groups: the traditional women, who keep their socially accepted positions and are supportive of the men, and the women rebelling against tradition, who try to be part of the male world, thereby exceeding the limits of tradition and rebelling against it. The article suggests that in the Nibelungenlied the two groups of women represent the Church and the men the Empire. The group of traditional women represents the Church before the breakout of the historical conflict with the Empire while the group of rebellious women represents the Church in the period of advanced conflict. Keywords: Das Nibelungenlied, Women, Politics, Representation, Church, Empire. ZUSAMMENFASSUNG Dieser Artikel überprüft die Art und Weise, wie die weiblichen Figuren im Nibelungenlied dargestellt sind. -
Narrative Voice and the Old English Scop
The Hilltop Review Volume 4 Issue 1 Spring Article 7 April 2010 Singing the Story: Narrative Voice and the Old English Scop Lisa M. Horton Western Michigan University Follow this and additional works at: https://scholarworks.wmich.edu/hilltopreview Part of the Literature in English, British Isles Commons, and the Medieval Studies Commons Recommended Citation Horton, Lisa M. (2010) "Singing the Story: Narrative Voice and the Old English Scop," The Hilltop Review: Vol. 4 : Iss. 1 , Article 7. Available at: https://scholarworks.wmich.edu/hilltopreview/vol4/iss1/7 This Article is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in The Hilltop Review by an authorized editor of ScholarWorks at WMU. For more information, please contact wmu- [email protected]. 45 SINGING THE STORY: NARRATIVE VOICE AND THE OLD ENGLISH SCOP1 By Lisa M. Horton Abstract The picture of Anglo-Saxon society that we receive through its literature is a direct result of the life of the Old English scop. His personality and experiences filter into the stories that he tells and provide nuanced interpretations of both histo- ries and legends, while his position within Anglo-Saxon society allows him direct access to the great events and persons of his time. As an active participant in his society, at the feet or even at the right hand of a king, he wields profound influence; as an observer and commentator on his society, he records and interprets both reality and fiction. Comprehension of narrative voice in Old English poetry depends on understanding the function, development, and complex social position of the scop who authors and disseminates this literature. -
THE FINAL HONOUR SCHOOL COURSE (Second and Final Year) Reading Lists for Many Papers Are Available on the Sub-Faculty Website
FACULTY OF MEDIEVAL AND MODERN LANGUAGES GERMAN Final Honour School Handbook INFORMATION FOR STUDENTS STARTING THEIR FHS COURSE IN OCTOBER 2017 AND EXPECTING TO TAKE THE FHS EXAMINATION IN TRINITY TERM 2020 1 COURSE GUIDE: THE FINAL HONOUR SCHOOL COURSE (second and final year) Reading lists for many papers are available on the sub-faculty website. They can be accessed via the page for current students of German (http://www.mod-langs.ox.ac.uk/german) and then following the links to Weblearn. N.B. The German Sub-Faculty has agreed that, since 2005, the new system of German spelling and punctuation (according to the ‘Rechtschreibreform’) should constitute the teaching standard. Both old and new systems, however, will be accepted for examination purposes, provided that, in either case, the rules are applied with a reasonable degree of consistency. GERMAN LANGUAGE After the Preliminary Examination a variety of approaches are used in the language teaching offered to you. Language classes will usually be arranged by your college and there will be opportunities for improving the whole range of skills: reading, listening, writing, and speaking. In addition, there will also be centrally organized classes with Lektoren on offer which students can choose from, with a focus on conversation or writing skills on topics such as cinema, creative writing, history, politics and current affairs in Germany and Austria. Developing your skills in translation will also encourage you to write accurately and acquire a greater degree of Sprachgefühl, and there will be opportunities to develop oral and aural skills with native speakers. Communicative skills will be developed in preparation for the Essay and the Oral examination. -
Nibelungenlied
Politics and the Representation of Women in the Nibelungenlied Anat KOPLOWITZ-BREIER Bar-Ilan University [email protected] Recibido: enero de 2007 Aceptado: febrero de 2007 ABSTRACT The article examines the manner in which the female characters are represented in the Nibelungenlied by dividing them into two groups: the traditional women, who keep their socially accepted positions and are supportive of the men, and the women rebelling against tradition, who try to be part of the male world, thereby exceeding the limits of tradition and rebelling against it. The article suggests that in the Nibelungenlied the two groups of women represent the Church and the men the Empire. The group of traditional women represents the Church before the breakout of the historical conflict with the Empire while the group of rebellious women represents the Church in the period of advanced conflict. Keywords: Das Nibelungenlied, Women, Politics, Representation, Church, Empire. ZUSAMMENFASSUNG Dieser Artikel überprüft die Art und Weise, wie die weiblichen Figuren im Nibelungenlied dargestellt sind. Sie sind in zwei Gruppen unterteilt: die traditionellen Frauen, welche ihre sozial festgelegte Stellung akzeptieren und die Manner unterstützen; und die Frauen, welche gegen diese Tradition rebellieren und versuchen, ein Teil der Männerwelt zu werden, und die damit die Grenzen der Tradition überschreiten. Dieser Artikel legt nahe, dass die beiden Frauengruppen im Nibelungenlied die Kirche und die Männer des Kaiserreichs repräsentieren. Die Gruppe der traditionellen Frauen repräsentiert die Kirche vor dem Ausbruch des historischen Konflikts mit dem Reich; die Gruppe der rebellierenden Frauen symbolisiert die Kirche in der Periode des fortgeschrittenen Konflikts. Schlüsselwörter: Das Nibelungenlied, Frauen, Politik, Darstellung, Kirche, Kaiserreich. -
Female Representations of Heroism in Old English Poetry
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2018 Breaking with tradition(?) : female representations of heroism in old english poetry. Kathryn A. Green University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the English Language and Literature Commons Recommended Citation Green, Kathryn A., "Breaking with tradition(?) : female representations of heroism in old english poetry." (2018). Electronic Theses and Dissertations. Paper 2971. https://doi.org/10.18297/etd/2971 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. BREAKING WITH TRADITION(?): FEMALE REPRESENTATIONS OF HEROISM IN OLD ENGLISH POETRY By Kathryn A. Green B.A., University of Louisville, 1987 M.A., University of Louisville, 2012 A Dissertation Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Humanities Department of Comparative Humanities University of Louisville Louisville, KY May 2018 Copyright 2018 by Kathryn A. Green All rights reserved BREAKING WITH TRADITION(?): FEMALE REPRESENTATIONS OF HEROISM IN OLD ENGLISH POETRY By Kathryn A. Green B.A., University of Louisville, 1987 M.A., University of Louisville, 2012 Dissertation Approved on April 19, 2018 by the following Dissertation Committee: ___________________________________________ Dr.