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Enigmas, agency and assemblage

identifies purpose and ownership from the outset, before the analysis of each side. He is keen to point out that the casket ‘was not meant to be a religious piece of art’ and that, as none of the carvings apart from the Magi scene would have suited religious purposes, it is ‘very likely’ that the casket ‘had been meant for some noble layman, for a king, an æðeling or a thane’. Becker acknowledges that such statements must remain ‘hypothetical’ but still wants us to ‘assume’ that the casket ‘once used to contain the hoard of some noble warrior, king or thane’ and that the

in Nonhuman voices in Anglo-Saxon literature and material culture
Fragility, brokenness and failure

in any congregation or meshwork there is a ‘friction and violence between parts’ so that assemblages are ‘living, throbbing confederations that are able to function despite the persistent presence of energies that confound them from within’.1 As such, when looking at how things are assembled in a poem like The Dream, we need to attend not only to the way in which the bits 176 176 Nonhuman voices in Anglo-Saxon literature and material culture and pieces come together but to how they suffer wounding, damage, breakage, but then seek new encounters to creatively

in Nonhuman voices in Anglo-Saxon literature and material culture
The lump-child and its parents in The King of Tars

the lump in order to show how its treatment throws into relief the different configurations of paternity and maternity, of gender roles and of religious politics put forward in a range of re-tellings. Three kinds of critical analysis are put forward, progressively narrowing the focus of study. Building on Lillian Herlands Hornstein’s impressive scholarship, I begin by studying analogues of KT drawn from medieval chronicles; these analogues allow an appreciation of features shared by the different narratives. The second section turns to the Auchinleck text of KT

in Pulp fictions of medieval England
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reading of the Torah, and he also blesses all the people during the course of the prayer service on festival days, reciting verses from Numbers 6:24–26 in a highly impressive ceremony in which he stands facing the congregation, raising his hands in blessing. 30 Based upon Leviticus 25:17: ‘You shall not oppress each man his fellow’— interpreted in b. Bava Metzi’a 58b to refer to ‘oppression through words.’ 31 Aliyah—the rite of a member of a Jewish congregation being called to read from the Torah during religious services. 32 Gershom ben Judah, Teshuvot Rabbenu

in Apostasy and Jewish identity in High Middle Ages Northern Europe

kept an eye on him from the moment they began to suspect his religious deviation. According to his account, at age thirteen he had a dream filled with awesome grandeur and extremely significant, to which he attributes the beginning of his transition to Christianity. He saw a king approaching him and giving him an impressive white horse, an elaborate belt, a bag of silk, and heavy gold coins. The king preferred him above all the members of his own nobility, rode in his company, and even ate with him from the same plate. This dream made a deep impression upon him, but

in Apostasy and Jewish identity in High Middle Ages Northern Europe

anthropomorphic head, is instructive. The Turk’s Head no longer serves an active commemorative function (few will identify the allusion to the Crusades or the Siege of Vienna), but it is no less key to an understanding of the complex racial and religious bigotry that underlies dominant Western ideology. Stigmatised as an object of both fear and fascination, the Muslim, reduced to a symbolic turban or a grinning face,13 can be eaten. His supremacy in the medieval Holy Land, his incursion into the heart of Renaissance Europe, his threat to American hegemony is contained

in Pulp fictions of medieval England