Beowulf and Typological Symbolism
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Introduction the Waste-Ern Literary Canon in the Waste-Ern Tradition
Notes Introduction The Waste-ern Literary Canon in the Waste-ern Tradition 1 . Zygmunt Bauman, Wasted Lives: Modernity and Its Outcasts (Cambridge: Polity Press, 2004), 26. 2 . M a r y D o u g las, Purity and Danger: An Analysis of the Concepts of Pollution and Taboo (London: Routledge, 1966/2002), 2, 44. 3 . S usan Signe Morrison, E xcrement in the Late Middle Ages: Sacred Filth and Chaucer’s Fecopoeticss (New York: Palgrave Macmillan, 2008), 153–158. The book enacts what Dana Phillips labels “excremental ecocriticism.” “Excremental Ecocriticism and the Global Sanitation Crisis,” in M aterial Ecocriticism , ed. Serenella Iovino and Serpil Oppermann (Bloomington: Indiana University Press, 2014), 184. 4 . M o r r i s o n , Excrementt , 123. 5 . Dana Phillips and Heather I. Sullivan, “Material Ecocriticism: Dirt, Waste, Bodies, Food, and Other Matter,” Interdisci plinary Studies in Literature and Environment 19.3 (Summer 2012): 447. “Our trash is not ‘away’ in landfills but generating lively streams of chemicals and volatile winds of methane as we speak.” Jane Bennett, Vibrant Matter: A Political Ecology of Things (Durham: Duke University Press, 2010), vii. 6 . B e n n e t t , Vibrant Matterr , viii. 7 . I b i d . , vii. 8 . S e e F i gures 1 and 2 in Vincent B. Leitch, Literary Criticism in the 21st Century: Theory Renaissancee (London: Bloomsbury, 2014). 9 . Pippa Marland and John Parham, “Remaindering: The Material Ecology of Junk and Composting,” Green Letters: Studies in Ecocriticism 18.1 (2014): 1. 1 0 . S c o t t S lovic, “Editor’s Note,” Interdisciplinary Studies in Literature and Environment 20.3 (2013): 456. -
BRITISH LITERATURE Level 630
LITERATURE / LANGUAGE ARTS INSTRUCTOR’S GUIDE BRITISH LITERATURE Level 630 Thames Embankment London, England FUN FACT All of Jane Austen’s novels were published anonymously until after her death. PARENT GUIDE 630 Ages 17–18 Grades 11–12 Literature Language Arts British Literature by the Sonlight Team And you shall know the truth, and the truth shall make you free. John 8:32 (NKJV)) PARENT GUIDE Instructor’s Guide Quick Start The Sonlight Instructor’s Guide (IG) is designed to make This IG includes an entire 36-week schedule, notes, your educational experience as easy as possible. We have assignments, readings, and other educational activities. carefully organized the materials to help you and your For specific organizational tips, topics and skills addressed, children get the most out of the subjects covered. If you the timeline schedule, and other suggestions for the need help reading your schedule, see “How to Use the parent/teacher see Section Three. What helpful features Schedule” just before Week 1 begins. can you expect from the IG? Notes WEEK NOTES CORE A Timeline Instructions Day 1 Schedule Throughout the year, we will provide Timeline suggestions from your assigned reading here in your Bible Notes . We mark them with a d symbol. If we use Easy to use the d symbol, please find a figure in the Sonlight Egermeier's Bible Story Book | pp. 10–12 Timeline Figure packet. CORE A WEEK SCHEDULE Note: We read a story Bible to give our children the You should either use the timeline sold by Sonlight full flow of the Bible’s content. -
M.A. Thesis – E. Haayema (Koning); Mcmaster University – English and Cultural Studies SCRIPTURAL TYPES and ANGLO-SAXON HEROE
M.A. Thesis – E. Haayema (Koning); McMaster University – English and Cultural Studies SCRIPTURAL TYPES AND ANGLO-SAXON HEROES M.A. Thesis – E. Haayema (Koning); McMaster University – English and Cultural Studies REMAKING THE MOULD: SCRIPTURAL TYPES AND ANGLO-SAXON HEROES IN THE DREAM OF THE ROOD, ELENE, AND JUDITH By ERIN KONING, B.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University © Copyright by Erin Koning, September 2015 M.A. Thesis – E. Haayema (Koning); McMaster University – English and Cultural Studies McMaster University MASTER OF ARTS (2015) Hamilton, Ontario (English and Cultural Studies) TITLE: Remaking the Mould: Scriptural Types and Anglo-Saxon Heroes in The Dream of the Rood, Elene, and Judith AUTHOR: Erin Koning, B.A. (Redeemer University College) SUPERVISOR: Professor Anne Savage NUMBER OF PAGES: vi, 95 ii M.A. Thesis – E. Haayema (Koning); McMaster University – English and Cultural Studies Lay Abstract: This thesis aims to discuss the process and purposes of “remaking” the Anglo-Saxon hero in three Anglo-Saxon poems: The Dream of the Rood, Elene, and Judith. I examine how the poets blend various monastic and secular influences within Christianized Anglo-Saxon culture in order to establish a new and ideal literary hero, one who often resembles spiritual archetypes such as Christ or the Virgin Mary. I also explore the complex gender dynamics that emerge in these poems, and in particular how the protagonist — the hero or heroine — navigates a diverse range of both masculine and feminine performances in order to succeed. -
The Old-Norse Narrative Auðunar Þáttr Vestfirzkaas
Studia Litteraria Universitatis Iagellonicae Cracoviensis 5 (2010) MARTA REY-RADLIŃSKA Instytut Filologii Germańskiej Zakład Filologii Szwedzkiej Uniwersytet Jagielloński THE OLD-NORSE NARRATIVE AUÐUNAR ÞÁTTR VESTFIRZKA AS A PARABOLIC FICTION Introduction Auðunar þáttr vestfi rzka (literally: The þáttr of Auðun from the West Fjords) is doubtless one of the prose masterpieces of the European Middle Ages. The story of a poor Icelander who travels to the old country to gain wealth and recognition is well known and has been translated to many languages. It has been considered as one of most classical examples of the Old-Norse short narratives, so-called þættir. The number of short narratives called today þættir varies depending on the criteria applied. As Elizabeth Ashman Rowe and Joseph Harris concluded in A Companion to Old-Norse Icelandic Literature and Culture: Because such short narratives are not always clearly labelled, whether with ‘þáttr’ or another term, and because other criteria for their recognition can be subjective, their exact number will always be a matter of controversy. We feel, however, that a conservative esti- mate would recognize between 75 and 100 short narratives as þættir.1 The research on this kind of narratives has a long history but is not yet exhaus- tive.2 The modern lexical defi nition of a þáttr points out the two modern meanings of the term: Þáttr m., (eig. “Taustrang, Kardeel”, Pl. Þættir) ist ein literar. Begriff mit zwei versch. Bedeutungen: 1. ein Abschnitt einer längeren Saga (z.B. den Kristni þáttr der Laxdæla 1 E.A. Rowe, J. Harris, “Short Prose Narrative (þáttr)”. -
ABSTRACT Jesus Christ Warrior-King: Analysis of the Old
ABSTRACT Jesus Christ Warrior-King: Analysis of the Old English Poem Christ and Satan Hannah L. Schwartz Director: Ginger Hanchey, Ph.D. The Old English poem Christ and Satan is an interesting and important work of literature, but various circumstances have left it without the widespread scholarly attention or fame of other Old English poems. This thesis begins by demonstrating the ways in which Christ and Satan makes use of traditional, Germanic-heroic literary practices to tell its distinctly Christian story and how this intermingling of traditions casts Christ into several distinctly heroic roles within the poem, including that of the warrior- king. Subsequent chapters compare specific scenes from the narrative of the poem, those of Christ’s descent into hell and his temptation by Satan in the desert, to similar scenes from other poems in the Old English and Old Saxon poetic canons. These comparisons are made in search of increased understanding of both the poetic inner-workings of Christ and Satan and how and why it was composed within its unique historical, literary, and religious context. APPROVED BY DIRECTOR OF HONORS THESIS: Dr. Ginger Hanchey, Department of English APPROVED BY THE HONORS PROGRAM Dr. Elizabeth Corey, Director DATE: JESUS CHRIST WARRIOR-KING: ANALYSIS OF THE OLD ENGLISH CHRIST AND SATAN A Thesis Submitted to the Faculty of Baylor University In Partial Fulfillment of the Requirements for the Honors Program By Hannah L. Schwartz Waco, Texas May 2018 TABLE OF CONTENTS Acknowledgements iii Chapter One: Introduction -
Affective Criticism, Oral Poetics, and Beowulf's Fight with the Dragon
Oral Tradition, 10/1 (1995): 54-90 Affective Criticism, Oral Poetics, and Beowulf’s Fight with the Dragon Mark C. Amodio I Affective criticism, as it has been practiced over the last few years, has come to focus upon the reader’s (or audience’s) subjective experience of a given literary work.1 Rather than examining the text qua object, affective criticism (like all subjective criticism) has abandoned the objectivism and textual reification which lay at the heart of the New Critical enterprise, striving instead to lead “one away from the ‘thing itself’ in all its solidity to the inchoate impressions of a variable and various reader” (Fish 1980:42).2 Shifting the critical focus away from the text to the reader has engendered 1 Iser, one of the leading proponents of reader-based inquiry, offers the following succinct statement of the logic underlying his and related approaches: “[a]s a literary text can only produce a response when it is read, it is virtually impossible to describe this response without also analyzing the reading process” (1978:ix). Iser’s emphasis on the reader’s role and on the constitutive and enabling functions inherent in the act of reading are shared by many other modern theorists despite their radical differences in methodologies, aims, and conclusions. See especially Culler (1982:17-83), and the collections edited by Tompkins (1980) and Suleiman and Crosman (1980). 2 The New Criticism has generally warned against inscribing an idiosyncratic, historically and culturally determined reader into a literary text because doing so would lead to subjectivism and ultimately to interpretative chaos. -
Instructor's Guide Quick Start
Instructor’s Guide Quick Start The Sonlight Instructor’s Guide (IG) is designed to make This IG includes an entire 36-week schedule, notes, your educational experience as easy as possible. We have assignments, readings, and other educational activities. carefully organized the materials to help you and your For specific organizational tips, topics and skills addressed, children get the most out of the subjects covered. If you the timeline schedule, and other suggestions for the need help reading your schedule, see “How to Use the parent/teacher see Section Three. What helpful features Schedule Page” just before Week 1 begins. can you expect from the IG? Notes WEEK NOTES CORE A Timeline Instructions Day 1 Schedule Throughout the year, we will provide Timeline suggestions from your assigned reading here in your Bible Notes . We mark them with a d symbol. If we use Easy to use the d symbol, please find a figure in the Sonlight Egermeier's Bible Story Book | pp. 10–12 Timeline Figure packet. CORE A WEEK SCHEDULE Note: We read a story Bible to give our children the You should either use the timeline sold by Sonlight full flow of the Bible’s content. We read Egermeier’s Curriculum, or make a timeline for the wall of your room because it chooses the stories well, is readable, and using 8½"x 11" paper (taped sideways, end to end), one compelling. My children often pleaded with me to “keep inch for every 100 years or so. Bible on reading.” May our children grow up to understand the Word and to love it. -
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 Werewolf Pride Movement: a Step Back from Queer Medieval Tradition
Seton Hall University eRepository @ Seton Hall Theses Spring 5-10-2011 The eW rewolf Pride Movement: A Step Back from Queer Medieval Tradition Caitlin B. Giacopasi Seton Hall University Follow this and additional works at: https://scholarship.shu.edu/theses Recommended Citation Giacopasi, Caitlin B., "The eW rewolf Pride Movement: A Step Back from Queer Medieval Tradition" (2011). Theses. 4. https://scholarship.shu.edu/theses/4 The Werewolf Pride Movement: A Step Back from Queer Medieval Tradition Caitlin Giacopasi Submitted in partial fulfillment of the requirements for the Master ofArts Department of English, Seton Hall University 10 May 2011 "Werewolf Pride": An Abstract The current popularity of the werewolf in modern film and literature marks a great departure fiom the traditional myth. Rather than emphasizing ambiguity through the hybrid body, the modern werewolf has come to represent excess or lack in terms of gender and sexuality. The werewolf can now no longer be considered "queer": that is, as an unusual, unfamiliar, and ambiguous creature that does not conform to the laws of beasts or men. Queer sexual and gender identity, which once found an analog in the werewolf "curse," would seem to be denied by this current "Werewolf Pride" movement; the movement promotes heteronormative standards in its favored representations of an essentially queer figure. Hybrid identity, through physical transformation from man to wolf to man-wolf, becomes interchangeable with queer sexual identity in the medieval werewolf bodies in The Romance of William of Palerne and Marie de France's "Bisclavret." Despite persistent attempts, the werewolf s trans-species body cannot be successfully heteronormalized without sacrificing its essential hybridity which blends man and animal. -
View That the Present Study Affirms
1 CYNEWULF'S ASCENSION (CHRIST II): A CRITICAL EDITION Roland T. Williams A Dissertation Submitted to the Graduate School of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 197U Approved by Doctoral Committee Advisor Department of Englzi ¿f7 iJ-l—dJ —;; WWUNG GREEN Stint UNIVERSITY LIBRARY ABSTRACT Ascension (Christ II) is one of four Old English poems (the other three are Fates of the Apostles, Juliana, and Elene) with the name "Cynewulf" embedded in runes, acrostic-fashion, near the end. The purpose of the dissertation is to present a text of Ascension, transcribed from the Exeter Book facsimile. Included, too, are textual notes and commentary, introduction, translation, and glossary. Although the poem has been edited as part of the Exeter Book, as one of Cynewulf's signed works, and in collections of Old English literature, it has never been issued before as a separate work. The first 1,664 lines of the Exeter Book have been divided by scholars into Christ I (Advent), Christ II (Ascension), and Christ III (The Last Judgment) and were considered for many years to be a trilogy called Christ. Since Benjamin Thorpe published the first edition of the Exeter Book in 1842, scholars have repeated ly attempted to discover whether Cynewulf wrote one, two, or all three parts. For the reason that Cynewulf's name appears only at the end of Ascension, current scholarship holds that Cynewulf wrote only this poem, a view that the present study affirms. The introduction includes a discussion of the background of the Exeter Book, problems relating to authorship, dating, dialect, and runic writing, and a critical analysis which ejqjlores the structure, diction, imagery, and theme of the poem. -
'Hird Quarter Number
454 N7:71hl- • I 11 • t t Jr 1,1t44, Pr., $ 1. essons From the Days of the PATRIARCHS and PROPHET . From the Captivity in Bab- 'hird Quarter ylon to the Restoration o f Number 1944 the First Dominion. 197 INDIVIDUAL SABBATH SCHOOL OFFERING GOAL "As God bath prospered him" MY WEEKLY GOAL (Check Amount) 5.00 2.00 1.00 .50 .30 .25 I "God loveth a cheerful giver" RECORD ti l'o" i -o n '..8 0 a) .-I C4 0, .. ). E.0 .—g CO OD mil OD CO N. CO CDr-i •-• .-4 .-4 a; ..E; E. DAILY LESSON STUDY PLEDGE As one who greatly desires to improve my knowledge of the Scriptures, I pledge myself to the careful and prayerful study of some portion of my Sabbath school lesson each day of the week. Name If desired, a record of daily study may be maintained in the blank below. STUDY RECORD 1 2 3 4 5 6 7 8 9 10 11 12 13 1ST DAY'S STUDY 2D DAY'S STUDY 3D DAY'S STUDY 4TH DAY'S STUDY 5TH DAY'S STUDY 6TH DAY'S STUDY 7TH DAY'S STUDY Place a check ( V) mark in each space above for the days you have studied your lesson. Form the habit of regular daily study and record marking. Sabbath School Lesson Quarterly, No. 197, July-September, 1944, 25 cents a year in U. S. A.; 40 cents a year in Canada and foreign countries. Published in the U. S. A. by Pacific Press Publishing Association (a corporation of S. -
God Or Man? the Dual Nature of Christ in Old English Christian Poetry
God or Man? The Dual Nature of Christ in Old English Christian Poetry MA-Thesis Philology Student name: Mariëlle van Rijn Student number: s1267965 Date: 23 December 2016 First reader: Dr. M.H. Porck Second reader: Dr. K.A. Murchison Leiden University, Department of Literary Studies Source title page image: London, British Library, MS 49598 (‘The Benedictional of St Æthelwold’). TABLE OF CONTENTS Introduction 1 Chapter 1 – The Dual Nature of Christ and Medieval Christology 5 Chapter 2 – Christ the Messiah, Redeemer, and Judge in Christ I, Christ II, and Christ III 14 Chapter 3 – Christ the Warrior in The Dream of the Rood and The Descent into Hell 40 Conclusion 55 Works Cited List 58 1 INTRODUCTION Anglo-Saxon poets show a splendid ability to deal with difficult and foreign subject matter in their own Germanic style. Accustomed to a pagan warrior culture, the Anglo-Saxons needed to come to terms with a new tradition coming to their island in the sixth and seventh centuries: Christianity. The Anglo-Saxons proved to be particularly good at fusing their vernacular culture with the new Christian faith; they not only adapted themselves to the ideals of Christianity, but also adapted Christianity to their own heroic tradition.1 This reconciliation of Germanic heroism and Christianity is especially evident in Old English literature. For instance, in the opening lines of Andreas the poet portrays the twelve apostles in terms of the Germanic comitatus: they are excellent warriors and loyal retainers to the Lord.2 Similarly, Anglo-Saxon saints such as Guthlac are described as warriors of Christ fighting spiritual battles.3 Moreover, the devil and his minions are often presented as exiles, for example in Christ and Satan, as punishment for their disloyalty to God.4 As such, the Anglo-Saxon poets cast Christian themes in a heroic mode to make them more acceptable to their Germanic audience.