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The Textin the Community
The in the Text Community Essays on Medieval Works, Manuscripts, Authors, and Readers edited by jill mann & maura nolan University of Notre Dame Press Q Notre Dame, Indiana Copyright © 2006 by University of Notre Dame Notre Dame, Indiana 46556 www.undpress.nd.edu All Rights Reserved Designed by Jane Oslislo Set in 9.9/13.8 Janson by Four Star Books Printed in Hong Kong by Kings Time Printing Press, Ltd. Library of Congress Cataloging in-Publication Data The text in the community : essays on medieval works, manuscripts, authors, and readers / edited by Jill Mann and Maura Nolan. p. cm. Includes index. isbn 0-268-03495-8 (cloth : alk. paper) isbn 0-268-03496-6 (pbk. : alk. paper) 1. Literature, Medieval—History and criticism. 2. Manuscripts, Medieval—History. I. Mann, Jill. II. Nolan, Maura. pn671.t38 2006 809'.02—dc22 2005035128 ∞This book is printed on acid-free paper. contents List of Illustrations vii List of Contributors xi Abbreviations List xiii Acknowledgments xv Introduction 1 maura nolan 1 Versifying the Bible in the Middle Ages 11 michael lapidge 2 “He Knew Nat Catoun”: Medieval School-Texts and Middle English Literature 41 jill mann 3 Computing Cynewulf: The Judith-Connection 75 andy orchard Q vi R Contents 4 The Contexts of Notre Dame 67 107 a.s.g. edwards 5 The Haunted Text: Ghostly Reflections in A Mirror to Devout People 129 vincent gillespie 6 The Visual Environment of Carthusian Texts: Decoration and Illustration in Notre Dame 67 173 jessica brantley 7 The Knight and the Rose: French Manuscripts in the Notre Dame Library 217 maureen boulton 8 The Meditations on the Life of Christ: An Illuminated Fourteenth-Century Italian Manuscript at the University of Notre Dame 237 dianne phillips Index of Manuscripts 283 General Index 287 list of illustrations plate 1. -
The Intertextuality of Beowulf, Cynewulf and Andreas1
The departure of the hero in a ship: The intertextuality of Beowulf , Cynewulf and Andreas 1 Francis Leneghan University of Oxford This article identifies a new Old English poetic motif, ‘The Departure of the Hero in a Ship’, and discusses the implications of its presence in Beowulf , the signed poems of Cynewulf and Andreas , a group of texts already linked by shared lexis, imagery and themes. It argues that the Beowulf -poet used this motif to frame his work, foregrounding the question of royal succession. Cynewulf and the Andreas -poet then adapted this Beowulfian motif in a knowing and allusive manner for a new purpose: to glorify the church and to condemn its enemies. Investigation of this motif provides further evidence for the intertextuality of these works. Keywords : Old English poetry; Beowulf , Cynewulf; Andreas ; Anglo-Saxon literature 1. Introduction Scholars have identified a number of ‘motifs’, ‘themes’ or ‘type scenes’ in Old English poetry. Two of the best-known such motifs are ‘the beasts of battle’, typically featuring the carrion eagle, wolf and raven, anticipating or rejoicing in slaughter (Magoun 1955, Bonjour 1957, Griffith 1993), and ‘the hero on the beach’, wherein a hero is depicted with his retainers in the presence of a flashing light, as a sea-journey is completed (or begun), usually at dawn 1 I would like to thank Daniel Anlezark, Hugh Magennis, Richard North, Andy Orchard, Rafael Pascual and Daniel Thomas for their helpful comments on earlier versions of this article. Francis Leneghan, Selim24 (2019): 105 –132. ISSN 1132-631X / DOI https://doi.org/10.17811/selim.24.2019.105-134 106 Francis Leneghan (Crowne 1960: 368; Fry 1966, 1971).2 Broadening the focus to consider both Old English verse and prose, Mercedes Salvador Bello identified the ‘leitmotif’ of ‘the arrival of the hero in a ship’ in the Anglo-Saxon Chronicle and Beowulf , featuring “a recurrent thematic pattern which presents the story of the heroes (or the hero) who arrive from northern lands in a boat and become the ancestors of Anglo-Saxon dynasties” (1998: 214). -
Rędende Iudithše: the Heroic, Mythological and Christian Elements in the Old English Poem Judith
University of San Diego Digital USD Undergraduate Honors Theses Theses and Dissertations Fall 12-22-2015 Rædende Iudithðe: The eH roic, Mythological and Christian Elements in the Old English Poem Judith Judith Caywood Follow this and additional works at: https://digital.sandiego.edu/honors_theses Part of the European Languages and Societies Commons, and the Literature in English, British Isles Commons Digital USD Citation Caywood, Judith, "Rædende Iudithðe: The eH roic, Mythological and Christian Elements in the Old English Poem Judith" (2015). Undergraduate Honors Theses. 15. https://digital.sandiego.edu/honors_theses/15 This Undergraduate Honors Thesis is brought to you for free and open access by the Theses and Dissertations at Digital USD. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of Digital USD. For more information, please contact [email protected]. Rædende Iudithðe: The Heroic, Mythological and Christian Elements in the Old English Poem Judith ______________________ A Thesis Presented to The Faculty and the Honors Program Of the University of San Diego ______________________ By Jude Caywood Interdisciplinary Humanities 2015 Caywood 2 Judith is a character born from the complex multicultural forces that shaped Anglo-Saxon society, existing liminally between the mythological, the heroic and the Christian. Simultaneously Germanic warrior, pagan demi-goddess or supernatural figure, and Christian saint, Judith arbitrates amongst the seemingly incompatible forces that shaped the poet’s world, allowing the poem to serve as an important site for the making of a new Anglo-Saxon identity, one which would eventually come to be the united English identity. She becomes a single figure who is able to reconcile these opposing forces within herself and thereby does important cultural work for the world for which the poem was written. -
Animality, Subjectivity, and Society in Anglo-Saxon England
IDENTIFYING WITH THE BEAST: ANIMALITY, SUBJECTIVITY, AND SOCIETY IN ANGLO-SAXON ENGLAND A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of English Language and Literature by Matthew E. Spears January 2017 © 2017 Matthew E. Spears IDENTIFYING WITH THE BEAST: ANIMALITY, SUBJECTIVITY, AND SOCIETY IN ANGLO-SAXON ENGLAND Matthew E. Spears, Ph.D. Cornell University, 2017 My dissertation reconsiders the formation of subjectivity in Anglo-Saxon England. It argues that the Anglo-Saxons used crossings of the human-animal divide to construct the subject and the performance of a social role. While the Anglo-Saxons defined the “human” as a form of life distinct from and superior to all other earthly creatures, they also considered most humans to be subjects-in-process, flawed, sinful beings in constant need of attention. The most exceptional humans had to be taught to interact with animals in ways that guarded the self and the community against sin, but the most loathsome acted like beasts in ways that endangered society. This blurring of the human-animal divide was therefore taxonomic, a move to naturalize human difference, elevate some members of society while excluding others from the community, and police the unruly and transgressive body. The discourse of species allowed Anglo-Saxon thinkers to depict these moves as inscribed into the workings of the natural world, ordained by the perfect design of God rather than a product of human artifice and thus fallible. “Identifying with the Beast” is informed by posthumanist theories of identity, which reject traditional notions of a unified, autonomous self and instead view subjectivity as fluid and creative, produced in the interaction of humans, animals, objects, and the environment. -
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 Synthesis of Anglo-Saxon and Christian Traditions in the Old English Judith
THE SYNTHESIS OF ANGLO-SAXON AND CHRISTIAN TRADITIONS IN THE OLD ENGLISH JUDITH SARAH E. EAKIN Bachelor of Arts in English Illinois State University December 2008 submitted in partial fulfillment of requirements for the degree MASTER OF ARTS IN ENGLISH at the CLEVELAND STATE UNIVERSTIY December 2013 We hereby approve this thesis for SARAH E. EAKIN Candidate for the Master of Arts in English degree for the Department of ENGLISH and the CLEVELAND STATE UNIVERSITY College of Graduate Studies by _________________________________________________________________ Thesis Chairperson, Dr. Stella Singer _____________________________________________ Department & Date _________________________________________________________________ Thesis Committee Member, Dr. James Marino _____________________________________________ Department & Date _________________________________________________________________ Thesis Committee Member, Dr. David Lardner _____________________________________________ Department & Date Student’s Date of Defense: November 26, 2013 Dedicated to Joseph Zilkowski THE SYNTHESIS OF ANGLO-SAXON AND CHRISTIAN TRADITIONS IN THE OLD ENGLISH JUDITH SARAH E. EAKIN ABSTRACT The Anglo-Saxons were a people who took great pride in their heritage and culture. However, they faced various challenges in preserving the pagan traditions of their Nordic ancestors while being heavily influenced by Christianity. Many Anglo- Saxon texts demonstrate these cultural challenges, but the Book of Judith, found in the Nowell-Codex, attempts to unify the two -
This Index Highlights Themes and Topics and the Names of the More
Cambridge University Press 978-1-107-05530-8 - The Cambridge Old English Reader: Second Edition Richard Marsden Index More information Index This index highlights themes and topics and the names of the more important people and places discussed or mentioned throughout the book, including in the Introduction, section headnotes, text headnotes and notes to the texts. Abel 163 apocalypse 245 Abingdon 100, 130 Apollonius of Tyre xxi, 268, 269–274 Abraham 139, 160 Aristotle 275 Adam 139, 166, 167, 236 Asser 72, 153 aenigmata, see Latin literature Athelney 72 Aidan, bishop of Lindisfarne 81 Athelstan, king 80, 122, 124 Alcuin of York 255 Attila the Hun 368 Aldhelm, bishop of Sherborne 358 Augustine, archbishop of Canterbury: Alexander the Great 275–276; see also mission to the English 37, 79, 81, 93 Letter of Alexander Augustine, St, bishop of Hippo 217; De Alfred the Great, king of Wessex 53, 79, 81, ciuitate Dei (‘The City of God’) 142, 105, 129, 133; and learning 38, 61, 66, 73, 239, 241, 257, 261; Enarrationes in 79, 97, 133, 167; his preface to Gregory’s psalmos 156 Cura pastoralis 66–72; translation of Ælfgifu, will of 80, 128–131 Boethius’s De consolatione Philosophiae Ælfric, abbot of Eynsham 37, 40, 105, 183; 38, 73–78, 346, 355, 366; translation of Catholic Homilies (Sermones catholicae), psalms 152–157; see also lawcodes 40, 59, 206, 217, 239; audience of 217; allegory, Christian 387 Colloquy 40–46; De temporibus annis 47; alliteration, see poetry, prose Homily for Easter 201, 217–227; Ambrosius 111 Excerptiones (‘Grammar’) 40, 58–65, -
Old English Poetry
The Birth of English Poetry Dr Stuart D Lee [email protected] Lesson Aims • General points about Old English poetry • Old English poetry collections • Performance / Authorship / Audience • Technicalities of Old English Poetry • Consider some Old English poems A small topical digression… Months Days Bede, De temporum ratione Fusion and appropriation Christianity arrives in 597 AD Saxon days started the previous evening Conversion by appropriation Thus ‘æfen’ or evening is part of the next day Celtic feast of Samhain, Norse feast of Vetrnætr - e.g. Midsummer’s Eve, ‘appropriated’ > Feast of Christmas Eve All Hallows EndFusion of summer and … appropriation ‘Like the Celtic counterpart, the people used to Christianity arrivescelebrate in this597 nightAD by lightingSaxon large days bonfiresstarted the to previous frightened spirits and demons,evening because on this night they freely roamed the world. It is also on Conversion bythis appropriation night that Odin was supposedThus ‘æfen’ to leador evening the is part spectral horsemen and houndsof the innext the day Wild Hunt. The Wild Hunt lasted throughout winter, peaking Celtic feast of Samhain, at Yule's night before ending the following year on Norse feast of Vetrnætr - e.g. Midsummer’s Eve, May Eve (Walpurgis' Night).’ ‘appropriated’ > Feast of Christmas Eve All Hallows Fusion and appropriation Christianity arrives in 597 AD Saxon days started the previous evening Conversion by appropriation Thus ‘æfen’ or evening is part of the next day Celtic feast of Samhain, Norse feast of Vetrnætr - e.g. Midsummer’s Eve, ‘appropriated’ > Feast of Christmas Eve All Hallows ealra halgena æfen All Hallow’s Eve (31st October) Fusion and appropriation Christianity arrives in 597 AD Saxon days started the previous evening Conversion‘Ac by weappropriation gehyrdon seggonThus ‘æfen’sumne or evening þisne ismann, part þæt nan mann ne leofode,of the next þe day him blod lete on ealra halgena mæssedæg, oððe gif he Celtic feast of Samhain, gewundod wære.’ e.g. -
Sadness in the Heart of the Good One: the Tone of Beowulf Leah Smith
Sadness in the Heart of the Good One: The Tone of Beowulf Leah Smith Smith 1 For my mother’s relentless love of learning. Nu beoð þy hefigran heort. Smith 2 Contents Introduction ……………………..3 Glo[o]m …………………………7 F[l]ight …………………………17 Age[ncy] .………………………64 Success[ion] .………………….108 Do[o]m ………………………..129 Works Cited …………………..140 Smith 3 Introduction Beowulf is an Anglo-Saxon poem written by an unknown poet between the late six and early eleventh centuries. It is a little over 3,000 lines of poetry in Old English and appears in the manuscript London, British Library, Cotton Vitellius A. xv. There is still much that is unknown about the historical context of the poem and its composition. In fact, the dating of the original composition is one of the most debated topics of Beowulf studies.1 The manuscript is dated c. 1000 AD (Klaeber clxii), providing a clear later boundary, but evidence suggests that the copy in the Vitellius manuscript is at least a copy of a copy, if not even further removed. Scribal errors have been used as evidence that the copiers (two different scribes) were removed enough from the context of the writing of the poem to no longer recognize such proper nouns as Merovingians, which appear in the manuscript in garbled form. On the other end of the range, the poem cannot be written any earlier than historical events it references, like the raid that leads to Hygelac’s death in the early sixth century.2 Not being able to specify the date of the poem creates a wide range of possibilities for the cultural context in which the poet might have been writing. -
THE BATTLE of MALDON: a MEDIEVAL SCREENPLAY History and Heroism in the Cinematic Adaptation of an Old English Poem
THE BATTLE OF MALDON: A MEDIEVAL SCREENPLAY History and Heroism in the Cinematic Adaptation of an Old English Poem A Thesis Submitted to the Committee on Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Faculty of Arts and Science TRENT UNIVERSITY Peterborough, Ontario, Canada (c) Copyright Sarah Elizabeth Miller 2013 English (Public Texts) M.A. Graduate Program September 2013 ABSTRACT The Battle of Maldon: A Medieval Screenplay History and Heroism in the Cinematic Adaptation of an Old English Poem Sarah Elizabeth Miller The Battle of Maldon is an artistic representation of a historical event whose style lends itself to being adapted into a screenplay. This project examines how the poem presents a recent event in an epic heroic style, mixing history with legend, and how the heroism of the men in the poem is celebrated. These explorations lead to the creation of a screenplay which imitates the ways that the poet combines fact and fiction and situates the screenplay within the larger realm of medieval film. Keywords: The Battle of Maldon, Maldon, Byrhtnoth, Anglo-Saxon history, heroism, medieval film, screenplay, Anglo-Saxon poetry, Old English ii ACKNOWLEDGEMENTS Foremost, I would like to express my deepest gratitude to my supervisor, Professor Sarah Larratt Keefer, without whose encouragement, enthusiasm, and patience this project would not have been possible. She pushed me when I needed to be pushed, and believed in me when I didn’t believe in myself, and inspired me to go further in my studies than I imagined I could. I will always be grateful. -
Landscape and Community in Old English Poetry
FORESTS OF THOUGHT AND FIELDS OF PERCEPTION: LANDSCAPE AND COMMUNITY IN OLD ENGLISH POETRY by MARY ELIZABETH WARD A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of English College of Arts and Law The University of Birmingham September 2017 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract. Old English poetry is centred on the concept of community and the importance of belonging. Landscape was a component of any community since, during the period when Old English poetry was being composed and written down, the landscape was a far more important constituent of daily life than it is for the majority of people today. Landscape dictated the places that could be settled, as well as the placing of the paths, fords, and bridges that joined them; it controlled boundaries, occupations, and trading routes. In the poetry of the period landscape, as part of the fabric of community, is the arbiter of whether each element of a community is in its proper place and relationship to the others. It is the means of explaining how a community is constructed, policed, and empowered. -
Of Verbal Charms
TOWARDS A POETICS, RHETORICS AND PROXEMICS OF VERBAL CHARMS Jonathan Roper This article is intended as a first attempt to assemble and, where necessary, to newly devise, a series of terms which can be used to indicate the poetical features1 and rhetorical structures and devices typically present in the words of a charm, and also the proxemic manoeuvres employed in the “performance” of charms.2 In the Eng- lish-speaking world academic investigations into individual verbal charms and into whole charm traditions have tended to be undevel- oped in approach and few in number, excepting, of course, the stand- ard authorities on the Anglo-Saxon charms.3 Such studies of Eng- lish-language charms as have been carried out, most especially in the late- and post-medieval fields, have been limited, hampered by the lack of adequate critical terminology. This tendency for charm- studies to be undeveloped when compared with studies of other aspects of folklore is not just apparent in the English-speaking world: Rørbye (1992: 435) discussing “the first wave of folkloristic docu- mentation 1880–1960” in the Nordic countries, comments that folk medicine (the general area which the majority of charms fall un- der)4 “was chiefly studied [--- as] a means to the end in the pro- gramme of evolutionistic reconstruction” i.e. it was admitted into folkloristics as a theme and not as a free-standing phenomenon or genre. Similarly, Conrad (1989: 422) remarks: As if embarrassed by continuing popular faith in the efficacy of charms and incantations despite the availability of modern re- gional hospitals, Soviet folklorists until recently relegated newly collected examples to archives.