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Temporal dissonance and narrative voice
Caitlin Flynn

off music, language became self-sufficient as the vehicle of verse, and memory assumed the function of aesthetic distance which had been earlier accorded to music. 19 Douglas’s attention to harmony and cosmology reflects a nuanced and humanist-complected presentation of music not commonly found in other medieval poems, especially dream visions. The extreme to which he pushes this temporal and affective antinomy is deeply grotesque. More generally, Douglas’s engagement with sound and

in The narrative grotesque in medieval Scottish poetry
Richard Suggett and Eryn White

poet his reward but at the same time rebuked the bard for an unsatisfactory composition and consigned the text to the hall fire, saying, ‘By my honestie I swere yf there bee no copie of this extante, none shall there ever bee.’ 9 56 Language, literacy and aspects of identity in early modern Wales The sheer quantity of these late medieval poems, principally praise poems that enhanced the status of patrons by emphasizing their gentility, leadership and generosity, should be noted. Some thousands exist in manuscript and many are of ‘local’ rather than ‘national

in The spoken word
Open Access (free)
Daniel C. Remein and Erica Weaver

's ‘static, heroic masculinity’. All told, this volume thus contends that the intimacies in Beowulf – textual, narrative, characterological, formal, linguistic, cultural, and so forth – escape the intimate, charged confines of an early medieval poem that will probably remain – perhaps paradoxically – anonymous and undated. In addition to addressing ongoing, crucial questions about the interpretation or function of the poem, then, these chapters ultimately give us a Beowulf whose relationship status will always display ‘it's complicated’, but which

in Dating Beowulf
Abstract only
Gillian Rudd

makes much nature writing so resilient to critical interpretation. Oerlemans makes his argument with regard to the writing of the Romantics (prose, shorter poems and sections within longer narrative texts) but the questions of focus and interpretation he raises are thrown into greater relief when, as with the medieval poems under discussion here, we are dealing with free-standing lyrics that are often anonymous, frequently without certain date and usually without a known precise reason for their composition. In this they are most like found objects: they do not need

in Greenery
Peter Barry

italics again] Here, the destined encounter with wilderness as the locale of revelation is rather like that in the medieval poem Sir Gawain and the Green Knight. Having encountered the Green Knight in the crowded festive hall at Christmas time, Gawain must go out into the wilderness a year later in search of the man of the man he beheaded (who immediately picked up his head and left the hall), and there receive the return blow. Like Gawain, but in hired car, rather than on horseback, Hallett sets out for the foothills: The foothills of Cadair Idris are beautiful beyond

in Extending ecocriticism
Willem de Blécourt

small, possibly mutually related group of stories, 19 and she obliterated the horse. In her opinion the brothers guarding the apple tree were not important either, since they were absent in the medieval poem (and, like the illness, belonged to another story type anyway). She divulged a preference for northern European texts: the Russian version was ‘excellent’, the Scottish ‘good’, whereas variants in

in Tales of magic, tales in print
The implications of mobility
Daniel Birkholz

being forgotten. Chapter 1 thus also concerns how, under the pressure of historicist methodological tastes (New and old), one kind of literary anonymity, the anonymity of unestablished authorship, can breed another: the anonymity of provincial inconsequence. Below we will examine how the cultural meanings and artistic valuation of some reportedly slight medieval poems have been affected by trends in post-medieval literary study. All texts are subject to the vagaries of reception, but the Harley items analysed here have found themselves unusually susceptible to

in Harley manuscript geographies
Joshua Davies

cultures, are able to flourish 54 54 Visions and ruins across time and remake the past and make the future in their own image. As in the case of Detroit, ruination can be the result of political will, and the contemplation of ruins, of the twenty-​first century city or the early medieval poem, can mitigate as well as express, as Derrida would have it, the ruins of one’s own self. So the poem provides a shock of historical depth to Temple’s images, a historical depth that emphasises common humanity rather than race, class or precise historical context. The sense of

in Visions and ruins
Joshua Davies

as belonging in an abjected past. Locating Beowulf in the modern world Racial, ethnic and nationalist readings and uses of medieval culture are present in the disciplinary history of medieval studies as well as the political and creative archive of the Middle Ages.77 Indeed, the discipline of medieval studies developed alongside the birth of nationalist thinking and the two are inextricably linked. This is seen clearly in the early scholarly history of the Old English poem known as Beowulf, during which the early medieval poem was used to secure the identity of a

in Visions and ruins
Jan Broadway

internal inconsistencies in the work are catalogued, it seems obvious that it is a fourteenth-century forgery, but respect for medieval texts and an appreciation of the problems of scribal copies made early antiquaries less critical than later generations of historians. As befitted an author whose first published work was an edition of Geoffrey Chaucer, Stow’s Survey of London reflected his interest in poetry, and he drew on several medieval poems for descriptions of the medieval city. Among the sources he had acquired was part of the collection of John Shirley, who in the

in ‘No historie so meete’