By David Clark, Nicholas Perkins
`An first-class collection... breaks new flooring in lots of components. may still make a considerable influence at the dialogue of the modern effect of Anglo-Saxon Culture'. Conor McCarthy, writer of Seamus Heaney and the Medieval mind's eye Britain's pre-Conquest earlier and its tradition maintains to fascinate sleek writers and artists. From Henry Sweet's Anglo-Saxon Reader to Seamus Heaney's Beowulf, and from excessive modernism to the musclebound heroes of comedian e-book and Hollywood, Anglo-Saxon England has been a strong and infrequently unforeseen resource of suggestion, antagonism, and mirrored image. The essays the following have interaction with the ways that the Anglo-Saxons and their literature were acquired, faced, and re-envisioned within the sleek mind's eye. they give clean insights on tested figures, similar to W.H. Auden, J.R.R. Tolkien, and David Jones, and on modern writers equivalent to Geoffrey Hill, Peter examining, P.D. James, and Heaney. They discover the interplay among textual content, photo and panorama in medieval and glossy books, the recasting of mythic figures akin to Wayland Smith, and the metamorphosis of Beowulf into Grendel - as a singular and as grand opera. The early medieval emerges now not as a website of nostalgia or anxiousness, in glossy revisions, yet as an alternative offers a necessary enviornment for creativity, excitement, and inventive scan. participants: Bernard O'Donoghue, Chris Jones, Mark Atherton, Maria Artamonova, Anna Johnson, Clare A. Lees, Sian Echard, Catherine A.M. Clarke, Maria Sachiko Cecire, Allen J. Frantzen, John Halbrooks, Hannah J. Crawforth, Joshua Davies, Rebecca Anne Barr
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Additional info for Anglo-Saxon Culture and the Modern Imagination (Medievalism)
Yet we do not read the ‘word oþer’ (‘other words’, 870) which the Danish poet ‘fand’ (‘discovered’ 870) at all, but instead materials of the ‘ealdgesegena’ (‘old stories’, 869) : not the first story about Beowulf, but pre-existing materials about Sigemund and Heremod. Here the Nowell-Beowulf reaches back to Heorot in search of its own Ur-text, but what it actually returns with are pre-texts. Locating Beowulf ’s point of origin seems both as desirable and as chimerical a possibility for the surface narrative voice of the poem, as it does for us, standing beyond that surface shell.
126–39. 2010 15:27 16 Chris Jones with historicism, that a work means whatever it meant when it was created. For some this is understood to be whatever the work meant to its immediate readership (sometimes reductively totalized on the basis of selective evidence) ; for others it is whatever function the work performed within the network of social, economic and political relationships, out of which it was produced ; while among yet others persists an underlying presumption that the work means what it ‘must have meant’ to its author, however difficult this proves to recover (and too often is sought for as unnecessary justification of the critic’s own interpretation).
G. ‘fireman-poet’, ‘fire-thane’, ‘shoulder-awning’, ‘rubble-bolts’, ‘hatchet man’, ‘hose man’). In particular Heaney employs one of his extended sequences of compound variation to describe the helmet, a riff he developed from Old English poetry, as I have previously argued :43 ‘Leather-trimmed, steel-ridged, hand-tooled, hand-sewn’. In the final stanzas, as the poem reaches its terrible climax, effects impressionistic of Old English, such as a denser pattern of alliteration on /sh/, /h/, /r/ and /b/, begin to build up.
Anglo-Saxon Culture and the Modern Imagination (Medievalism) by David Clark, Nicholas Perkins