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Postcolonial theories have transformed literary, historical and
cultural studies over the past three decades. Yet the study of
medieval art and visualities has, in general, remained Eurocentric
in its canon and conservative in its approaches. 'Postcolonising',
as the eleven essays in this volume show, entails active
intervention into the field of medieval art history and visual
studies through a theoretical reframing of research. This approach
poses and elicits new research questions, and tests how concepts
current in postcolonial studies - such as diaspora and migration,
under-represented artistic cultures, accented art making,
displacement, intercultural versus transcultural, hybridity,
presence/absence - can help medievalists to reinvigorate the study
of art and visuality. Postcolonial concepts are deployed in order
to redraft the canon of medieval art, thereby seeking to build
bridges between medievalist and modernist communities of scholars.
Among the varied topics explored in the volume are the
appropriation of Roman iconography by early medieval Scandinavian
metalworkers, multilingualism and materiality in Anglo-Saxon
culture, the circulation and display of Islamic secular ceramics on
Pisan churches, cultural negotiation by Jewish minorities in
Central Europe and the Iberian peninsula, Holy Land maps and
medieval imaginative geography, and the uses of Thomas Becket in
the colonial imaginary of the Plantagenet court.
A powerful claim for the virtues of a more thoughtful and
collegiate approach to the academy today. This book offers a
response to the culture of metrics, mass digitisation, and
accountability (as opposed to responsibility, or citizenship) that
has developed in higher education world wide, as exemplified by the
UK's Research Excellence Framework exercise (REF), and the
increasing bureaucracy that limits the time available for teaching,
research, and even conversation and collaboration. Ironically,
these are problems that will be solved only by academicsfinding the
time to talk and to work together. The essays collected here both
critique the culture of speed in the neoliberal university and
provide examples of what can be achieved by slowing down, by
reclaiming research and research priorities, and by working
collaboratively across the disciplines to improve conditions. They
are informed both by recent research in medieval studies and by the
problematic culture of twenty-first century higher education. The
contributions offer very personal approaches to the academic
culture of the present moment. Some tackle issues of academic
freedom head-on; others more obliquely; but they all have been
written as declarations of theacademic freedom that comes with slow
thinking, slow reading, slow writing and slow looking and the
demonstrations of its benefits. CATHERINE E. KARKOV is Professor
and Chair of Art History at the University of Leeds. Contributors:
Lara Eggleton, Karen Jolly, Chris Jones, James Paz, Andrew
Prescott, Heather Pulliam
First Published in 2000. Routledge is an imprint of Taylor &
Francis, an informa company.
Contents: Looking back, looking forward - the field of Anglo-Saxon archaeology. Reorganization among the ruins. York 700-1050. Constructions of wood, stone and ink - the churches of 8th-century England. Wearmouth and Jarrow in their continental context, The Anglo-Saxon church at Canterbury. Anglo- Saxon church building - aspects of design and construction. Archaeology and the cult of St Oswald in pre-conquest Northumbria. The Anglo-Saxon cemetary at Sutton Hoo - an interim report. Beowulf and Sutton Hoo - the odd couple. Children, death and the afterlife in Anglo-Saxon England. Repton and the Vikings. An Anglo-Saxon "cunning woman" from Bidford-on-Avon. Questioning the monuments - approaches to Anglo-Saxon sculpture through gender studies. Statements in stone - Anglo-Saxon sculpture, Whitby and the Christianization of the north. Women's costume in the 10th and 11th centuries and textile production in Anglo-Saxon England. The archaeology of Anglo-Saxon England - theory and practice.
A fresh approach to the construction of "Anglo-Saxon England" and
its depiction in art and writing. This book explores the ways in
which early medieval England was envisioned as an ideal, a
placeless, and a conflicted geography in works of art and
literature from the eighth to the eleventh century and in their
modern scholarly and popular afterlives. It suggests that what came
to be called "Anglo-Saxon England" has always been an imaginary
place, an empty space into which ideas of what England was, or
should have been, or should be, have been inserted from the arrival
of peoples from the Continent in the fifth and sixth centuries to
the arrival of the self-named "alt-right" in the twenty-first. It
argues that the political and ideological violence that was a part
of the origins of England as a place and the English as a people
has never been fully acknowledged; instead, the island was
reimagined as a chosen land home to a chosen people, the gens
Anglorum. Unacknowledged violence, however, continued to haunt
English history and culture. Through her examination here of the
writings of Bede and King Alfred, the Franks Casket and the
illuminated Wonders of the East, and the texts collected together
to form the Beowulf manuscript, the author shows how this continues
to haunt "Anglo-Saxon Studies" as a discipline and Anglo-Saxonism
as an ideology, from the antiquarian studies of the sixteenth
century through to the nationalistic and racist violence of today.
37 studies of the adoption of Christianity across northern Europe
over1000 years, and the diverse reasons that drove the process. In
Europe, the cross went north and east as the centuries unrolled:
from the Dingle Peninsula to Estonia, and from the Alps to Lapland,
ranging in time from Roman Britain and Gaul in the third and fourth
centuries to the conversion of peoples in the Baltic area a
thousand years later. These episodes of conversion form the basic
narrative here. History encourages the belief that the adoption of
Christianity was somehow irresistible, but specialists show
theunderside of the process by turning the spotlight from the
missionaries, who recorded their triumphs, to the converted,
exploring their local situations and motives. What were the
reactions of the northern peoples to the Christian message? Why
would they wish to adopt it for the sake of its alliances? In what
way did they adapt the Christian ethos and infrastructure to suit
their own community? How did conversion affect the status of
farmers, of smiths, of princes and of women? Was society wholly
changed, or only in marginal matters of devotion and superstition?
These are the issues discussed here by thirty-eight experts from
across northern Europe; some answers come from astute re-readings
of the texts alone, but most are owed to a combination of history,
art history and archaeology working together. MARTIN CARVER is
Professor of Archaeology, University of York.
This Element covers the art produced in early medieval England from
the departure of the Romans to the early twelfth century, an art
that shows the input of multi-ethnic artists, patrons, and
influences as it develops over the centuries. Art in early medieval
England is an art of migrants and colonisers and the Element
considers the way in which it was defined and developed by the
different groups that travelled to or settled on the island. It
also explores some of the key forms and images that define the art
of the period and the role of both material and artist/patron in
their creation. Art is an expression of identity, whether
individual, regional, national, religious, or institutional, and
this volume sheds light on the way art in early medieval England
was and continues to be used to define particular identities,
including that of the island on which it was produced.
The Anglo-Saxon period was crucial to the development of the
English landscape, but is rarely studied. The essays here provide
radical new interpretations of its development. Traditional opinion
has perceived the Anglo-Saxons as creating an entirely new
landscape from scratch in the fifth and sixth centuries AD, cutting
down woodland, and bringing with them the practice of open field
agriculture, and establishing villages. Whilst recent scholarship
has proved this simplistic picture wanting, it has also raised many
questions about the nature of landscape development at the time,
the changing nature of systems of land management, and strategies
for settlement. The papers here seek to shed new light on these
complex issues. Taking a variety of different approaches, and with
topics ranging from the impact of coppicing to medieval field
systems, from the representation of the landscape in manuscripts to
cereal production and the type of bread the population preferred,
they offer striking new approaches to the central issues of
landscape change across the seven centuries of Anglo-Saxon England,
a period surely foundational to the rural landscape of today.
NICHOLAS J. HIGHAM is Professor of Early Medieval and Landscape
History at the University of Manchester; MARTIN J. RYAN lectures in
Medieval History at the University of Manchester. Contributors:
Nicholas J. Higham, Christopher Grocock, Stephen Rippon, Stuart
Brookes, Carenza Lewis, Susan Oosthuizen, Tom Williamson, Catherine
Karkov, David Hill, Debby Banham, Richard Hoggett, Peter Murphy.
Examinations of the use of diagrams, symbols etc. found as
commentary in medieval texts. In our electronic age, we are
accustomed to the use of icons, symbols, graphs, charts, diagrams
and visualisations as part of the vocabulary of communication. But
this rich ecosystem is far from a modern phenomenon. Early
medievalmanuscripts demonstrate that their makers and readers
achieved very sophisticated levels of "graphicacy". When considered
from this perspective, many elements familiar to students of
manuscript decoration - embellished charactersin scripts, decorated
initials, monograms, graphic symbols, assembly marks, diagrammatic
structures, frames, symbolic ornaments, musical notation - are
revealed to be not minor, incidental marks but crucial elements
within the larger sign systems of manuscripts. This
interdisciplinary volume is the first to discuss the conflation of
text and image with a specific focus on the appearance of various
graphic devices in manuscript culture. By looking attheir many
forms as they appear from the fourth century to their full maturity
in the long ninth century, its contributors demonstrate the
importance of these symbols to understanding medieval culture.
Michelle P. Brown FSA is Professor Emerita of Medieval Book History
at the School of Advanced Study, University of London and was
formerly the Curator of Illuminated Manuscripts at the British
Library; Ildar Garipzanov is Professor of Early Medieval History at
the Department of Archaeology, Conservation and History at the
University of Oslo; Benjamin C. Tilghman is Assistant Professor of
Art History at Washington College. Contributors: Tina Bawden,
Michelle P.Brown, Leslie Brubaker, David Ganz, Ildar H. Garipzanov,
Cynthia Hahn, Catherine E. Karkov, Herbert L. Kessler, Beatrice
Kitzinger, Kallirroe Linardou, Lawrence Nees, Eric Palazzo,
Benjamin C. Tilghman.
This book explores the complex interrelationship between texts and
drawings in the late tenth or early eleventh-century Junius II
manuscript, the only surviving illustrated Anglo-Saxon poetic
manuscript. The book, which contains a plate section of sixty-one
illustrations, focuses on the way in which the drawings both
illustrate the text and translate it into a new visual language.
Poems and illustrations work to create a carefully crafted and
unified manuscript, but both also use formulaic language,
iconography and compositions to construct a web of intertextual and
intervisual references that open the poems to readings far more
diverse than those of the biblical books on which they are based.
Together poems and drawings create a new and unique version of
biblical history, and suggest ways in which biblical history
relates to Anglo-Saxon history and the manuscript's Anglo-Saxon
audience - a process which has been extended by the manuscript's
many editors to include contemporary history and the contemporary
reader.
A fresh approach to the construction of "Anglo-Saxon England" and
its depiction in art and writing. This book explores the ways in
which early medieval England was envisioned as an ideal, a
placeless, and a conflicted geography in works of art and
literature from the eighth to the eleventh century and in their
modern scholarly and popular afterlives. It suggests that what came
to be called "Anglo-Saxon England" has always been an imaginary
place, an empty space into which ideas of what England was, or
should have been, or should be, have been inserted from the arrival
of peoples from the Continent in the fifth and sixth centuries to
the arrival of the self-named "alt-right" in the twenty-first. It
argues that the political and ideological violence that was a part
of the origins of England as a place and the English as a people
has never been fully acknowledged; instead, the island was
reimagined as a chosen land home to a chosen people, the gens
Anglorum. Unacknowledged violence, however, continued to haunt
English history and culture. Through her examination here of the
writings of Bede and King Alfred, the Franks Casket and the
illuminated Wonders of the East, and the texts collected together
to form the Beowulf manuscript, the author shows how this continues
to haunt "Anglo-Saxon Studies" as a discipline and Anglo-Saxonism
as an ideology, from the antiquarian studies of the sixteenth
century through to the nationalistic and racist violence of today.
Postcolonial theories have transformed literary, historical and
cultural studies over the past three decades. Yet the study of
medieval art and visualities has, in general, remained Eurocentric
in its canon and conservative in its approaches. 'Postcolonising',
as the eleven essays in this volume show, entails active
intervention into the field of medieval art history and visual
studies through a theoretical reframing of research. This approach
poses and elicits new research questions, and tests how concepts
current in postcolonial studies - such as diaspora and migration,
under-represented artistic cultures, accented art making,
displacement, intercultural versus transcultural, hybridity,
presence/absence - can help medievalists to reinvigorate the study
of art and visuality. Postcolonial concepts are deployed in order
to redraft the canon of medieval art, thereby seeking to build
bridges between medievalist and modernist communities of scholars.
Among the varied topics explored in the volume are the
appropriation of Roman iconography by early medieval Scandinavian
metalworkers, multilingualism and materiality in Anglo-Saxon
culture, the circulation and display of Islamic secular ceramics on
Pisan churches, cultural negotiation by Jewish minorities in
Central Europe and the Iberian peninsula, Holy Land maps and
medieval imaginative geography, and the uses of Thomas Becket in
the colonial imaginary of the Plantagenet court.
Fresh assessments of Edgar's reign, reappraising key elements using
documentary, coin, and pictorial evidence. King Edgar ruled England
for a short but significant period in the middle of the tenth
century. Two of his four children succeeded him as king and two
were to become canonized. He was known to later generations as "the
Pacific" or"the Peaceable" because his reign was free from external
attack and without internal dissention, and he presided over a
period of major social and economic change: early in his rule the
growth of monastic power and wealth involved redistribution of much
of the country's assets, while the end of his reign saw the
creation of England's first national coinage, with firm fiscal
control from the centre. He fulfilled King Alfred's dream of the
West Saxon royalhouse ruling the whole of England, and, like his
uncle King AEthelstan, he maintained overlordship of the whole of
Britain. Despite his considerable achievements, however, Edgar has
been neglected by scholars, partly becausehis reign has been
thought to have passed with little incident. A time for a full
reassessment of his achievement is therefore long overdue, which
the essays in this volume provide. CONTRIBUTORS: SIMON KEYNES,
SHASHI JAYAKUMAR, C.P. LEWIS, FREDERICK M. BIGGS, BARBARA YORKE,
JULIA CRICK, LESLEY ABRAMS, HUGH PAGAN, JULIA BARROW, CATHERINE
KARKOV, ALEXANDER R. RUMBLE, MERCEDES SALVADOR-BELLO
A fresh appraisal of the art of Anglo-Saxon England, focusing on
art as an aesthetic vehicle and art as an active political force.
Two particular perspectives inform this wide-ranging and richly
illustrated survey of the art produced in England, or by English
artists, between c. 600 and c.1100, in a variety of media,
manuscripts, stone and wooden sculpture, ivory carving, textiles,
and architecture. Firstly, from a post-colonial angle, it examines
the way art can both create and narrate national and cultural
identity over the centuries during which England was coming into
being, moving from Romano-Britain to Anglo-Saxon England to
Anglo-Scandinavian England to Anglo-Norman England. Secondly, it
treats Anglo-Saxon art as works of art, works that have both an
aesthetic and an emotional value, rather than as simply passive
historical or archaeological objects. This double focus on art as
an aesthetic vehicle and art as an active political force allows us
to ask questions not only about what makes something a work of art,
but what makes itendure as such, as well as questions about the
work that art does in the creation of peoples, cultures, nations
and histories. Professor Catherine Karkov teaches in the School of
Fine Art, University of Leeds.
The cataclysmic conquests of the eleventh century are here set
together for the first time. Eleventh-century England suffered two
devastating conquests, each bringing the rule of a foreign king and
the imposition of a new regime. Yet only the second event, the
Norman Conquest of 1066, has been credited with the impact and
influence of a permanent transformation. Half a century earlier,
the Danish conquest of 1016 had nonetheless marked the painful
culmination of decades of raiding and invasion - and more
importantly, of centuries of England's conflict and cooperation
with the Scandinavian world - and the Normans themselves were a
part of that world. Without 1016, the conquest of 1066 could never
have happened as it did: and yet disciplinary fragmentation in the
study of eleventh-century England has ensured that a gulf separates
the conquests in modern scholarship. The essays in this volume
offer multidisciplinary perspectives on a century of conquest: in
politics, law, governance, and religion; in art, literature,
economics, and culture; and in the lives and experiences of peoples
in a changing, febrile, and hybrid society. Crucially, it moves
beyond an insular perspective, placing England within its British,
Scandinavian, and European contexts; and in reaching across
conquests connects the tenth century and earlier with the twelfth
century and beyond, seeing the continuities in England's
Anglo-Saxon, Danish, Norman, and Angevin elite cultureand
rulership. The chapters break new ground in the documentary
evidence and give fresh insights into the whole historical
landscape, whilst fully engaging with the importance, influence,
and effects of England's eleventh-centuryconquests, both separately
and together. LAURA ASHE is Professor of English Literature and
Fellow and Tutor in English, Worcester College, Oxford; EMILY JOAN
WARD is Moses and Mary Finley Research Fellow, Darwin College,
Cambridge. Contributors: Timothy Bolton, Stephanie Mooers
Christelow, Julia Crick, Sarah Foot, John Gillingham, Charles
Insley, Catherine Karkov, Lois Lane, Benjamin Savill, Peter
Sigurdson Lunga, Niels Lund, Rory Naismith, Bruce O'Brien, Rebecca
Thomas, Elizabeth M. Tyler, Elisabeth van Houts, Emily Joan Ward.
Essays on the brief but tumultuous reign of Harold II, and one of
our most important sources of knowledge of the time - the Bayeux
Tapestry. Harold II is chiefly remembered today, perhaps unfairly,
for the brevity of his reign and his death at the Battle of
Hastings. The papers collected here seek to shed new light on the
man and his milieu before and after that climax. They explore the
long career and the dynastic network behind Harold Godwinesson's
accession on the death of King Edward the Confessor in January
1066, looking in particular at the important questions as to
whether Harold's kingship was opportunist or long-planned; a
usurpation or a legitimate succession in terms of his
Anglo-Scandinavian kinships? They also examine the posthumous
legends that Harold survived Hastings and lived on as a religious
recluse.The essays in the second part of the volume focus on the
Bayeux Tapestry, bringing out the small details which would have
resonated significantly for contemporary audiences, both Norman and
English, to suggest how they judged Harold and the other players in
the succession drama of 1066. Other aspects of the Tapestry are
also covered: the possible patron and locations the Tapestry was
produced for; where and how it was designed; and the various
sources - artistic and real - employed by the artist. Contributors:
H.E.J. Cowdrey, Nicholas J. Higham, Ian Howard, Gillian
Fellows-Jensen, Stephen Matthews, S.L. Keefer, Gale R.
Owen-Crocker, Chris Henige, Catherine Karkov, Shirley Ann Brown,
C.R. Hart, Michael Lewis. GALE OWEN-CROCKER is Professor of
Anglo-Saxon Culture at the University of Manchester.
Studies and editions of Anglo-Saxon apocryphal materials, filling a
gap in literature available on the boundaries between apocryphal
and orthodox in the period. Apocrypha and apocryphal traditions in
Anglo-Saxon England have been often referred to but little studied.
This collection fills a gap in the study of pre-Conquest England by
considering what were the boundaries between apocryphaland orthodox
in the period and what uses the Anglo-Saxons made of apocryphal
materials. The contributors include some of the most well-known and
respected scholars in the field. The introduction - written by
Frederick M. Biggs, one of the principal editors of Sources of
Anglo-Saxon Literary Culture - expertly situates the essays within
the field of apocrypha studies. The essays themselves cover a broad
range of topics: both vernacular and Latin texts, those available
in Anglo-Saxon England and those actually written there, and the
uses of apocrypha in art as well as literature. Additionally, the
book includes a number of completely new editions of apocryphal
texts which were previously unpublished or difficult to access. By
presenting these new texts along with the accompanying range of
essays, the collection aims to retrieve these apocryphal traditions
from the margins of scholarship and restore tothem some of the
importance they held for the Anglo-Saxons. Contributors: DANIEL
ANLEZARK, FREDERICK M. BIGGS, ELIZABETH COATSWORTH, THOMAS N. HALL,
JOYCE HILL, CATHERINE KARKOV, PATRIZIA LENDINARA, AIDEEN O'LEARY,
CHARLES D. WRIGHT.
Essays centred round the representation of weaving, both real and
imagined, in the early middle ages. The triple themes of textile,
text, and intertext, three powerful and evocative subjects within
both Anglo-Saxon studies and Old English literature itself, run
through the essays collected here. Chapters evoke the semantic
complexities of textile references and images drawn from the Bayeux
Tapestry, examine parallels in word-woven poetics, riddling texts,
and interwoven homiletic and historical prose, and identify
iconographical textures in medieval art. The volume thus considers
the images and creative strategies of textiles, texts, and
intertexts, generating a complex and fascinating view of the
material culture and metaphorical landscape of the Anglo-Saxon
peoples. It is therefore a particularly fitting tribute to
Professor Gale R. Owen-Crocker, whose career and lengthy list of
scholarly works have centred on her interests in the meaning and
cultural importance of textiles, manuscripts and text, and
intertextual relationships between text and textile. MAREN CLEGG
HYER is Associate Professor and Graduate Coordinator in the
Department of English at Valdosta State University; JILL FREDERICK
is Professor of English at Minnesota State University Moorhead.
Contributors: Marilina Cesario, Elizabeth Coatsworth, Martin Foys,
Jill Frederick, Joyce Hill, Maren Clegg Hyer, Catherine E. Karkov,
Christina Lee, Michael Lewis, Robin Netherton, Carol Neuman de
Vegvar, Donald Scragg, Louise Sylvester, Paul Szarmach, Elaine
Treharne.
Analysis of a group of images of kingship and queenship from
Anglo-Saxon England explores the implications of their focus on
books, authorship and learning. Between the reign of Alfred in the
late ninth century and the arrival of the Normans in 1066, a unique
set of images of kingship and queenship was developed in
Anglo-Saxon England, images of leadership that centred on books,
authorship and learning rather than thrones, sword and sceptres.
Focusing on the cultural and historical contexts in which these
images were produced, this book explores the reasons for their
development, and their meaning and functionwithin both England and
early medieval Europe. It explains how and why they differ from
their Byzantine and Continental counterparts, and what they reveal
about Anglo-Saxon attitudes towards history and gender, as well as
the qualities that were thought to constitute a good ruler. It is
argued that this series of portraits, never before studied as a
corpus, creates a visual genealogy equivalent to the textual
genealogies and regnal lists that are so mucha feature of late
Anglo-Saxon culture. As such they are an important part of the way
in which the kings and queens of early medieval England created
both their history and their kingdom. CATHERINE E. KARKOV is
Professorof Art History at the University of Leeds.
Fresh assessments of Edgar's reign, reappraising key elements using
documentary, coin, and pictorial evidence. King Edgar ruled England
for a short but significant period in the middle of the tenth
century. Two of his four children succeeded him as king and two
were to become canonized. He was known to later generations as "the
Pacific" or"the Peaceable" because his reign was free from external
attack and without internal dissention, and he presided over a
period of major social and economic change: early in his rule the
growth of monastic power and wealth involved redistribution of much
of the country's assets, while the end of his reign saw the
creation of England's first national coinage, with firm fiscal
control from the centre. He fulfilled King Alfred's dream of the
West Saxon royalhouse ruling the whole of England, and, like his
uncle King AEthelstan, he maintained overlordship of the whole of
Britain. Despite his considerable achievements, however, Edgar has
been neglected by scholars, partly because his reign has been
thought to have passed with little incident. A time for a full
reassessment of his achievement is therefore long overdue, which
the essays in this volume provide. CONTRIBUTORS: SIMON KEYNES,
SHASHIJAYAKUMAR, C.P, LEWIS, FREDERICK M. BIGGS, BARBARA YORKE,
JULIA CRICK, LESLEY ABRAMS, HUGH PAGAN, JULIA BARROW, CATHERINE
KARKOV, ALEXANDER R. RUMBLE, MERCEDES SALVADOR-BELLO.
Cross and Cruciform in the Anglo-Saxon World: Studies to Honor the
Memory of Timothy Reuter is edited by Sarah Larratt Keefer, Karen
Louise Jolly, and Catherine E. Karkov and is the third and final
volume of an ambitious research initiative begun in 1999 concerned
with the image of the cross, showing how its very material form
cuts across both the culture of a society and the boundaries of
academic disciplines - history, archaeology, art history,
literature, philosophy, and religion - providing vital insights
into how symbols function within society. The flexibility,
portability, and adaptability of the Anglo-Saxon understanding of
the cross suggest that, in pre-Conquest England, at least, the
linking of word, image, and performance joined the physical and
spiritual, the temporal and eternal, and the earthly and heavenly
in the Anglo-Saxon imaginative landscape. This volume is divided
into three sections. The first section of the collection focuses on
representations of ""The Cross: Image and Emblem,"" with
contributions by Michelle P. Brown, David A. E. Pelteret, and
Catherine E. Karkov. The second section, ""The Cross: Meaning and
Word,"" deals in semantics and semeology with essays by Helen
Damico, Rolf Bremmer, and Ursula Lenker. The third section of the
book, ""The Cross: Gesture and Structure,"" employs methodologies
drawn from archaeology, new media, and theories of rulership to
develop new insights into subjects as varied as cereal production,
the little-known Nunburnholme Cross, and early medieval concepts of
political power. Cross and Cruciform in the Anglo-Saxon World:
Studies to Honor the Memory of Timothy Reuter is a major collection
of new research, completing the publication series of the Sancta
Crux/Halig Rod project. Cross and Culture in Anglo-Saxon England:
Studies in Honor of George Hardin Brown.
New research into the liturgy of Anglo-Saxon history, with
important implications for church history in general. The essays in
this volume offer the fruits of new research into the liturgical
rituals of later Anglo-Saxon England. They include studies of
individual rites, the production, adaptation and transmission of
texts, vernacular gospeltranslations, liturgical drama and the
influence of the liturgy on medical remedies, poetry and
architecture; also covered are the tenth-century Benedictine
Reforms and the growth of pastoral care. It will be valuable for
anyoneinterested in later Anglo-Saxon England as well as medieval
liturgy and church history.
This book reveals the interrelationship of text and picture in the only surviving illustrated Anglo-Saxon poetic manuscript. It locates the manuscript within the broader cultural contexts in which it was produced and read, and documents the way in which it was transformed by poets, artists, and modern scholars and editors from a collection of biblical poetry to a national historical narrative.
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