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importance. In the midst of an information age, driven by revolutions in digital technologies, knowledge can be created and shared rapidly, global communication made possible in a heartbeat, networks expanded beyond all comprehension. Such advances facilitate very fast styles of learning and teaching –from the immediate reproduction of images to the use of social media in classrooms –but they can also lead to reassessments of the merits of slower forms of scholarship and pedagogy. Our understanding of the ‘voice’ or ‘agency’ or ‘otherness’ of things will inevitably be
.g. postmedieval ); and projects like ‘Global Chaucers’ that wind modern and global versions and translations of Chaucer into productive dialogue with Middle English texts. Social media also plays an important role in disseminating and promulgating a less formal version of medieval studies. On Twitter, in particular, scholars, students, novelists and enthusiasts of all kinds can share images, information and questions about the Middle Ages
traditional hierarchies and expectations of medieval scholarship, before the act of critical interpretation can begin. (We might now add to this, a mastery of all forms of contemporary critical theory, the techniques associated with digital humanities and the capacity to use social media and other forms of outreach to convince universities and funding bodies of the urgency and significance of our work.) 1
-Semitic material on social media, along with the rallying cry: ‘Hail Vinland! Hail Victory’. 1 Using ‘Vinland’ to signify a whites-only United States is not a new idea. Celebrating Leif Eiriksson’s discovery of the New World and the short-lived Norse colony in Arctic Canada as major historical achievements is not a domain reserved for Scandinavian-Americans celebrating Leif Erikson Day, either – Vinland has become a term frequently evoked by white nationalists in the United States. There is even a ‘Vinland Flag’, designed by Peter Steele, frontman of the gothic metal band Type
approaches made possible by social media platforms, and have invited evaluation of the challenging economies of publishing, perceptions of collaboration, and opportunities to alter writer–reader participation. In this context, Chaucer’s act of committing the text to the attentions of Gower and Strode, for example, evokes the academic peer-review process, for Chaucer authorizes the review of his work by an educated audience of his peers. Their learned review and emendation will help ensure the integrity of the text and, thereby, the writer’s and text’s reputation. Similarly