Journal articles: 'Art, Anglo-Norman'

1

Moll, Richard J. "The Oldest Anglo-Norman Prose Brut Chronicle: An Edition and Translation ed. by Julia Marvin." Arthuriana 17, no. 3 (2007): 106–7. http://dx.doi.org/10.1353/art.2007.0020.

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Fisher, Matthew. "The Construction of Vernacular History in the Anglo-Norman Prose Brut Chronicle by Julia Marvin." Arthuriana 28, no. 2 (2018): 117–18. http://dx.doi.org/10.1353/art.2018.0019.

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Wright, Charles D. "Insular, Anglo-Saxon, and Early Anglo-Norman Manuscript Art at Corpus Christi College, Cambridge: An Illustrated Catalogue, 1: Text. Mildred BudnyInsular, Anglo-Saxon, and Early Anglo-Norman Manuscript Art at Corpus Christi College, Cambridge: An Illustrated Catalogue, 2: Plates. Mildred Budny." Speculum 77, no. 1 (2002): 149–50. http://dx.doi.org/10.1017/s0038713400188876.

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Blurton, Heather, and Shay Hopkins. "The Anglo-Norman Lay of Haveloc. Gallica 37 ed. by Glyn S. Burgess and Leslie C. Brook." Arthuriana 26, no. 4 (2016): 174–75. http://dx.doi.org/10.1353/art.2016.0055.

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Díaz-Vera, Javier E. "Woven emotions." Review of Cognitive Linguistics 11, no. 2 (2013): 269–84. http://dx.doi.org/10.1075/rcl.11.2.04dia.

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Following Forceville (2005, 2011), in this paper I show that the same conceptual models underlie the expression of Old English emotions in both the language and the visual modes. Kövecses (2000, 2005) and Stefanowitsch (2004, 2006) have shown that verbal expressions and idioms used to describe emotions can be traced back to a limited number of conceptual metaphors. In the light of these findings, I will analyze here the pictorial representations of emotions in the Bayeux Tapestry, an 11th century embroidered cloth that narrates and depicts the events that led up to the Norman Conquest of England and the invasion itself. The tapestry, which has been described as an example of early narrative art (McCloud, 1993, pp. 12–14), shows hundreds of human figures in an astounding range of poses and circumstances. My analysis of the set of pictorial signals used in the Anglo-Norman Bayeux Tapestry to represent emotion types such as ‘anger’, ‘grief’ and ‘fear’ shows that (1) Anglo-Norman artists used a well-organized set of visual stimuli to convey emotion-related meanings in a patterned way, that (2) the same idealised conceptual models are shared by verbal and visual modalities, and that (3) whereas verbal expressions of emotions regularly draw on non-embodied, behavioural concepts, visual representations show a clear preference for embodied container concepts.

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Deshman, Robert. "Anglo-Saxon Art from the Seventh Century to the Norman Conquest. David M. Wilson." Speculum 62, no. 1 (1987): 225–26. http://dx.doi.org/10.2307/2852624.

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Franzen, Christine. "Insular, Anglo-Saxon, and Early Anglo-Norman Manuscript Art at Corpus Christi College, Cambridge: An Illustrated Catalogue (review)." Parergon 16, no. 2 (1999): 179–84. http://dx.doi.org/10.1353/pgn.1999.0110.

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Swain, Larry. "The Longman Anthology of Old English, Old Icelandic, and Anglo-Norman Literatures ed. by Richard North, Joe Allard, and Patricia Gillies." Arthuriana 26, no. 2 (2016): 146–48. http://dx.doi.org/10.1353/art.2016.0024.

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Stein, Robert M. "The Faces of Time: Portrayal of the Past in Old French and Latin Historical Narrative of the Anglo-Norman Regnum by Jean Blacker." Arthuriana 5, no. 4 (1995): 120–24. http://dx.doi.org/10.1353/art.1995.0014.

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De Castro Cândido, Sara, Nàvia Regina Ribeiro da Costa, and Ruzileide Epifânio Nogueira. "The Absurd Man in camusiana philosophy and poetry drummondiana: language as a source of (trans)formation." Fragmentos de Cultura 27, no. 3 (2017): 361. http://dx.doi.org/10.18224/frag.v27i3.5039.

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This article seeks to an approach between the poetry of Carlos Drummond de Andrade, in Feeling of the world (1940), and the philosophy of Albert Camus, in The Myth of Sisyphus - the work of art as adventure of a spiritual destiny (2012), for, to think through by the language praticed by Drummond in two poems – Poem of necessity and Holding hands –, the be in the world and the passing of the man's condition of the being ontic to the be ontological, using also Durand (2012) and another theorists. Making use, as methodology, by the bibliographical research, and theory express of poetic text, concepts and analysis based on the phenomenological critique. Still in an interdisciplinary approach, to reflect the subject and its constitution as speech, will use theories of French line of discourse analysis (DA) and the line Anglo-Saxon (ADC), whose leading exponents are respectively, Michel Pêcheux and Norman Fairclough, relying on the concept of dialectical materialism.   O Homem Absurdo na filosofia camusiana e na poesia drummondiana: a linguagem como fonte da (trans)formação  Este artigo busca aproximações entre a poesia de Carlos Drummond de Andrade, em Sentimento do Mundo (1940), e a filosofia de Albert Camus, em O mito de Sísifo – a obra de arte como aventura de um destino espiritual (2012), para, por meio da linguagem praticada por Drummond em dois poemas – Poema da necessidade e Mãos dadas –, pensar o estar no mundo e a passagem do homem da condição de ser ôntico para ser ontológico, valendo-se, também, de Durand (2012) e de outros teóricos. Utiliza, como metodologia, a pesquisa bibliográfica e expressa teorias do texto poético, conceitos e análises com base na crítica fenomenológica. Ainda, numa atitude interdisciplinar, para refletir sobre o sujeito e sua constituição como discurso, baseia-se nas teorias da Análise de Discurso de linha francesa (AD) e de linha anglo-saxã (ADC), cujos principais expoentes são, respectivamente, Michel Pêcheux e Norman Fairclough, apoiando-se na concepção do materialismo dialético.

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Lavidas, Nikolaos. "The Hypothesis of Change from Above in the History of English: State of the Art and Perspectives." Studia Anglica Posnaniensia 54, s1 (2019): 251–66. http://dx.doi.org/10.2478/stap-2019-0012.

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AbstractThe present paper presents the state of the art of research related to hypothesized changes from above in the diachrony of English. A main aim of the paper is to show how the cooperation of various perspectives can open new directions in the research of language change. We examine the main aspects of a definition of the change from above. We investigate the various perspectives through which the concept of change from above, as an “importation of elements from other systems” (Labov 2007), has been considered a significant factor for the development of English. We show that any attempt to investigate the presence or role of change from above includes the parameters of prestige, distribution of old and new forms, diffusion, gender, and linguistic ideology. Finally, we discuss typical examples of development of patterns and characteristics of English that have been analyzed as influenced by change from above, as well as the prestige dialects / languages and contexts that have been regarded as facilitating a hypothesized change from above (Latin, Anglo-Norman, standardization, prescriptivism, networks and individuals). We argue that the articles of the present special issue provide stable criteria that are required in any attempt to test the hypothesis of change from above in the development of English.

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Connor, John T. "Fanfrolico and After: The Lindsay Aesthetic in the Cultural Cold War." Modernist Cultures 15, no. 3 (2020): 276–94. http://dx.doi.org/10.3366/mod.2020.0297.

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This article follows Jack Lindsay (1900–1990) in his transformation from an Australian anti-modernist to a British-based Communist and cultural Cold Warrior. Lindsay was the driving force behind a cluster of initiatives in 1920s Sydney and London to propagate the art and ideas of his father, the painter Norman Lindsay. These included the deluxe limited edition Fanfrolico Press and the little magazines Vision and The London Aphrodite. The article reconstructs the terms of Lindsay's anti-modernist polemics and the paradoxically modernist forms they took, but it also attends to his change of heart. In the two decades after the Second World War, Lindsay found himself defending modernism against both its Cold War co-optation as the in-house aesthetic of the capitalist ‘Free World’ and its reflex denigration within Soviet and international Communist aesthetics. Against the elevation of modernism in the Anglo-American academy and its cultural-diplomatic deployment by agencies of the state, against the uncritical celebration of realism and its Soviet-sphere derivatives, Lindsay proposed a subaltern tradition of experimental art characterised by its utopian symbolism and national-popular inflection. For Lindsay, this tradition reached back to Elizabethan times, but it included modernism as one of its moments. From the vantage of the Cold War, Lindsay now identified the Fanfrolico project as itself an ‘Australian modernism,’ elements of which might yet fuse to form a more perfect socialist realism.

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Flint, Valerie I. J. "The Hereford Map: Its Author(s), Two Scenes and a Border." Transactions of the Royal Historical Society 8 (December 1998): 19–44. http://dx.doi.org/10.2307/3679287.

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The Hereford Map is drawn upon a single pentangular skin of very high quality and, presumably, expense. It measures some 5′2″ by 4′4″ at its longest and widest points, and has, in addition to the world map from which it takes its name, a number of ornamented borders, inscriptions in Latin and Anglo-Norman, and illuminated scenes. The map thus has a great many claims to the attention of medieval historians, art historians and linguists, but I would single out three. Firstly, as a result of the loss of the Ebstorf Map, the Hereford Map is now die largest and most elaborate medieval mappa mundi known to have survived. Secondly, it is still one of the most difficult there is of the genre definitively to date, place and understand; this in the face of over more than one hundred and fifty years of effort on the part of a whole series of accomplished scholars and cartographers, effort of which the recent short and penetrating book by Professor Harvey is a triumphant example. Thirdly, though the map is rightly now regarded by the Hereford Cathedral Chapter as one of its greatest treasures, and is quite beautifully cared for and displayed in Hereford, we are still all a little hazy about how it got there in the first place. Professor Harvey suspects it may originally have been made in Lincoln, a suspicion to which I might perhaps now bring a little additional support. But if it was made in Lincoln, how, then, did it come to Hereford, when did it come and, perhaps most importantly of all, why?

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Williams, Graham Trevor. "Performative speech act verbs and sincerity in Anglo-Norman and Middle English letters." Multilingua 39, no. 1 (2020): 11–31. http://dx.doi.org/10.1515/multi-2019-0011.

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AbstractThis paper investigates performative manifestations of sincerity across Anglo-Norman and Middle English. In particular, it locates adverbial sincerity markers used to qualify performative speech act verbs in late medieval letters (fourteenth and fifteenth centuries), at a point when Middle English was rapidly replacing Anglo-Norman as the vernacular of epistolarity in England. Employing historical dictionaries and corpora, the study 1) locates the range of words for ‘sincerity’ from a time when the modern lexeme had yet to be borrowed in either vernacular, and 2) demonstrates that while it is clear that Middle English epistolarity was greatly influenced by Anglo-Norman, quantitative and qualitative analyses suggest that sincerity markers were much less commonplace in Middle English performatives, which further suggests ways in which the communicative ideal and practice of sincerity were reanalyzed from one language to the next.

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Graham-Campbell, James. "Janet Backhouse. D. H. Turner & Leslie Webster (ed.). The golden age of Anglo-Saxon art. London: British Museum Publications, 1984. 216 pp., 300 colour & B/W illus. £10 paperback. - David M. Wilson. Anglo-Saxon art from the seventh century to the Norman Conquest. London: Thames & Hudson, 1984. 224 pp., 285 colour & B/W illus. £25." Antiquity 61, no. 231 (1987): 141–42. http://dx.doi.org/10.1017/s0003598x00072707.

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HAMILTON, SARAH. "LITURGY AS HISTORY: THE ORIGINS OF THE EXETER MARTYROLOGY." Traditio 74 (2019): 179–222. http://dx.doi.org/10.1017/tdo.2019.11.

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Through an Anglo-Norman case study, this article highlights the value of normative liturgical material for scholars interested in the role that saints’ cults played in the history and identity of religious communities. The records of Anglo-Saxon cults are largely the work of Anglo-Norman monks. Historians exploring why this was the case have therefore concentrated upon hagiographical texts about individual Anglo-Saxon saints composed in and for monastic communities in the post-Conquest period. This article shifts the focus away from the monastic to those secular clerical communities that did not commission specific accounts, and away from individual cults, to uncover the potential of historical martyrologies for showing how such secular communities remembered and understood their own past through the cult of saints. Exeter Cathedral Library, MS 3518, is a copy of the martyrology by the ninth-century Frankish monk, Usuard of Saint-Germain-des-Prés, written in and for Exeter cathedral's canons in the mid-twelfth century. Through investigation of the context in which it was produced and how its contents were adapted to this locality, this article uncovers the various different layers of the past behind its compilation. It further suggests that this manuscript is based on a pre-Conquest model, pointing to the textual debt Anglo-Norman churchmen owed to their Anglo-Saxon predecessors.

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Jewell, Richard. "An English Romanesque Mount and Three Ninth-Century Strap-Ends." Antiquaries Journal 83 (September 2003): 433–41. http://dx.doi.org/10.1017/s0003581500077751.

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This note discusses several recent English finds of early medieval ornamental metalwork shown at the Society of Antiquaries on 16 May 2002: most notably, a Romanesque mount with open-work foliate decoration having clear parallels with Norman and Anglo-Norman ornament of c 1100–25. Four ninth-century Anglo-Saxon strapends are also described and illustrated, two of which have decorative features with links to contemporary larger-scale works but rarer within the corpus of strap-ends; the other two being unusual examples of East Anglian niello and silver-wire inlay.

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Moss, Rachel. "Appropriating the Past: Romanesque Spolia in Seventeenth-Century Ireland." Architectural History 51 (2008): 63–86. http://dx.doi.org/10.1017/s0066622x00003026.

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Although a relatively young subject, the historiography of Irish architecture has had a remarkably significant impact on the manner in which particular styles have been interpreted and valued. Since the genesis of the topic in the mid-eighteenth century, specific styles of architecture have been inextricably connected with the political history of the country, and each has been associated with the political and religious affiliations of its patrons. From the mid-nineteenth century, the focus on identifying an Irish ‘national’ architecture became particularly strong, with Early Christian and Romanesque architecture firmly believed to imbue ‘the spirit of native genius’, while Gothic, viewed as the introduction of the Anglo-Norman invader, was seen as marking the end of ‘Irish’ art. Inevitably, with such a strong motivation behind them, early texts were keen to find structures that were untouched by the hand of the colonizer as exemplars of the ‘national architecture’. Scholars, including the pioneering George Petrie (1790–1866) in works such as his 1845 study of the round towers of Ireland, believed that through historical research he and others were the first to understand the ‘true value’ of these buildings and that any former interest in them had been purely in their destruction, rather than in their restoration or reconstruction. It was believed that such examples of early medieval architecture and sculpture as had survived had done so despite, rather than because of, the efforts of former ages, and, although often in ruins, the remains could be interpreted purely in terms of the date of their original, medieval, creation.Informed by such studies, from the mid-nineteenth century a movement grew to preserve and consolidate a number of threatened Romanesque buildings with the guiding philosophy of preserving the monuments as close to their original ‘pre-colonial’ form as possible. Consolidation of the ruins of the Nuns’ Church at Clonmacnoise (Co. Offaly) is traditionally amongst the earliest and most celebrated of these endeavours, undertaken by the Kilkenny and Southeast Ireland Archaeological Society in the 1860s, setting a precedent for both the type of monument and method of preservation that was to become the focus of activity from the 1870s, and thus for the first State initiatives in architectural conservation.

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Smith, Brendan. "Anglo-Norman Parks in Medieval Ireland." Journal of the British Archaeological Association 169, no. 1 (2016): 137–38. http://dx.doi.org/10.1080/00681288.2016.1223411.

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Owen-Crocker, Gale R. "The Bayeux ‘Tapestry’: invisible seams and visible boundaries." Anglo-Saxon England 31 (December 2002): 257–73. http://dx.doi.org/10.1017/s0263675102000108.

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The embroidered hanging known as the Bayeux ‘Tapestry’ was an obvious candidate for inclusion in an Anglo-Saxonists' conference titled ‘Imagined Endings, Borders, Reigns, Millennia’. Almost certainly constructed in English workshops for a Norman master, the ‘Tapestry’ illustrates a chronological period that begins with the final years of Edward the Confessor's reign and ends with the closing of the Anglo-Saxon era. The physical termination of the ‘Tapestry’ is missing, but this does not preclude the imagining of it, usually as a scene showing the accession of William the Conqueror to the English throne, a new reign and a new, Norman, era.

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Flight, Tim. "Aristocratic deer hunting in late Anglo-Saxon England: a reconsideration, based upon the Vita S. Dvnstani." Anglo-Saxon England 45 (December 2016): 311–31. http://dx.doi.org/10.1017/s0263675100080315.

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AbstractScholarship is divided over whether there existed a tradition of recreational hunting in Anglo-Saxon England, in addition to pragmatic forms of venery, and the extent to which it was altered by the Normans after the Conquest. However, hunting scholarship has hitherto neglected the detailed account of a recreational royal deer hunt in the Vita S. Dvnstani. By analysing this account, which describes a hunt resembling a typically ‘Norman’ chasse par force de chiens, I reassess the evidence for the nature of hunting in laws, charters, and the archaeological record. I posit that the Anglo-Saxon aristocracy hunted in a similar manner to the Normans, and that hunting was a socially inscribed pursuit, legally restricted to the ruling classes long before 1066. This argument supports the definition of the disputed charter term haga (‘enclosure’) in certain instances as an Anglo-Saxon hunting park. Finally, I suggest the existence of a specialized Anglo-Saxon hunting dog developed specifically to hunt large quarry in the ‘Norman’ manner.

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22

Hunt, Tony. "Early Anglo-Norman Receipts for Colours." Journal of the Warburg and Courtauld Institutes 58 (1995): 203. http://dx.doi.org/10.2307/751511.

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Busby, Keith. "Manual of Anglo-Norman. Ian Short." Speculum 84, no. 3 (2009): 774–75. http://dx.doi.org/10.1017/s0038713400210063.

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Bernstein, Meg. "A Bishop of Two Peoples:." Journal of the Society of Architectural Historians 77, no. 3 (2018): 267–84. http://dx.doi.org/10.1525/jsah.2018.77.3.267.

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In A Bishop of Two Peoples: William of St. Calais and the Hybridization of Architecture in Eleventh-Century Durham, Meg Bernstein considers England's Durham Cathedral alongside the nearly contemporaneous Norman Chapel, located in the bishop's palace adjacent to the cathedral. Both were commissioned by Bishop William of St. Calais, the second Norman-appointed bishop of Durham. Bernstein argues that the dramatically different formal styles of the two buildings reflect politically motivated choices the bishop made following the Norman cultural conquest of England after 1066. While the cathedral is recognizably hybrid, recalling Anglo-Saxon formal motifs applied to a Norman plan, the castle chapel draws straight from the milieu of the duchy of Normandy. In particular, the chapel's stone capitals were most likely made in Normandy and brought to England by the bishop. This article seeks to provide context for the cathedral where it has been lost and to draw conclusions about the chapel's commission within the context of the Norman colonization of England.

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Wieland, Gernot R. "The origin and development of the Anglo-Saxon Psychomachia illustrations." Anglo-Saxon England 26 (December 1997): 169–86. http://dx.doi.org/10.1017/s0263675100002155.

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The reception in Anglo-Saxon England of Prudentius's Psychomachia has been well studied. In an earlier article I concentrated on the textual tradition and touched only briefly on the important aspect of Psychomachia illustrations in Anglo-Saxon manuscripts; in the present article I treat the illustrations more fully. Psychomachia illustrations have been studied previously, most thoroughly by Stettiner and Woodruff, and they are also referred to by Katzenellenbogen and Norman. None of these examinations is completely satisfactory as far as the Anglo-Saxon illustrations are concerned. Both Stettiner and Woodruff examine all, that is both continental and Anglo-Saxon, illustrated Psychomachia manuscripts, and their primary aim is to establish stemmata and to determine generic relationships between the various manuscripts. Of necessity this procedure leads away from a scrupulous examination of individual manuscripts and their illustrations. In other words, by being concerned more with the generic similarities of the illustrations, Stettiner and Woodruff pay less attention to the differences (though they do not ignore them altogether). Moreover, they concentrate on the illustrated manuscripts and neglected the evidence which non-illustrated manuscripts can provide. Katzenellenbogen and Norman, in turn, are interested in the Psychomachia and its illustrations exerted on the sculpture and painting of later centuries, and only briefly refer to the Anglo-Saxon Psychomachia Illustrations thus still remains a necessity.

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Jones, Peter Murray. "Anglo-Norman Medicine, 2: Shorter Treatises.Tony Hunt." Speculum 74, no. 2 (1999): 436. http://dx.doi.org/10.2307/2887089.

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Kapelle, William E. "Anglo-Norman England, 1066-1166.Marjorie Chibnall." Speculum 66, no. 3 (1991): 619–22. http://dx.doi.org/10.2307/2864239.

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Black, Winston. "Tony Hunt, ed., An Anglo-Norman Pharmacopoeia (Oxford, Bodleian Library MS Bodley 761). (Anglo-Norman Text Society: Plain Texts Series 19.) Oxford: Anglo-Norman Text Society, 2017. Paper. Pp. 41." Speculum 95, no. 1 (2020): 260–61. http://dx.doi.org/10.1086/706346.

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Backhouse, Janet. "Insular, Anglo-Saxon and Early Anglo-Norman Manuscript Art at Corpus Christi College, Cambridge: an Illustrated Catalogue. By Mildred Budny. 290mm. 2 vols. Vol 1: Pp civ + 868. Vol II: 747 pls. Kalamazoo: Medieval Institute Publications, Western Michigan University in association with Research Group on Manuscript Evidence, The Parker Library, Corpus Christi College, Cambridge, 1997. ISBN 1-879288-87-7. Price not stated." Antiquaries Journal 79 (September 1999): 417–18. http://dx.doi.org/10.1017/s0003581500044760.

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Wilson, Christopher. "A Mid-Fourteenth Century Contract for the Choir Roof of Glastonbury Abbey." Antiquaries Journal 88 (September 2008): 216–21. http://dx.doi.org/10.1017/s0003581500001414.

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The Anglo-Norman French indenture discussed in this paper is apparently the first medieval English building contract to be discovered since L F Salzman published almost all the known examples of this kind of text in the 1967 second edition of Building in England Down to 1540: a documentary history. A short commentary sketches the significance of the document for architectural history.

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Hooper, Nicholas. "Edgar the Ætheling: Anglo-Saxon prince, rebel and crusader." Anglo-Saxon England 14 (December 1985): 197–214. http://dx.doi.org/10.1017/s0263675100001344.

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In the years which followed the Norman Conquest, the Old English aristocracy was largely deprived of its lands and offices, both lay and ecclesiastical. The resistance of the English nobility to the Norman Conquest made a large contribution to its own eclipse, but it is rarely that we are afforded a glimpse of the fortunes of an individual. The historian may, however, dwell in some detail on the career of one man, Edgar the Ætheling. Episodes from his life are preserved in a variety of works composed in the eleventh and twelfth centuries. The Anglo-Saxon Chronicle contains several entries relating to his activities after 1066, and the D version shows a special interest in Edgar and his family. Among Latin histories, those of John of Worcester, William of Malmesbury and Orderic Vitalis follow his activities, although none of these authors was well informed about his life. Edgar appears not to have made a strongly favourable impression upon any of them: to the anonymous compilers of the Anglo-Saxon Chronicle he was the rightful heir to the throne of England, but to both William and Orderic he was indolent. There is little difficulty involved in bringing together the known episodes of his life, and although his royal blood makes him a far from typical example the picture that emerges gives a useful insight into how one Englishman fared in the unstable political climate of the years immediately preceding the Norman Conquest, and in its aftermath. It is intended here to assemble the evidence for the life of Edgar and to treat him not as a footnote to history, which is how he has often fared at the hands of historians, but as a character of no small importance in the history of the Norman Conquest of England.

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Hinton, David A. "Anglo-Saxon Art from the Seventh Century to the Norman Conquest. By David M. Wilson. 28 × 23 cm. Pp. 224, 285 ills. (inc. 73 col.). London: Thames and Hudson, 1984. ISBN 0-500-23392-6. £25.00. - The Golden Age of Anglo-Saxon Art, 966–1066. Edited by Janet Backhouse, D. H. Turner and Leslie Webster. 28 × 22 cm. Pp. 216, many ills. + 32 col. pls. London: British Museum Publications, 1984. ISBN 0-7141-0532-5. £10.00 (p/b)." Antiquaries Journal 66, no. 1 (1986): 181–83. http://dx.doi.org/10.1017/s0003581500085012.

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Goldy, Charlotte Newman. "Land, Law, and Lordship in Anglo-Norman England.John Hudson." Speculum 72, no. 1 (1997): 174–76. http://dx.doi.org/10.2307/2865910.

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BRADY, LINDY. "CROWLAND ABBEY AS ANGLO-SAXON SANCTUARY IN THE PSEUDO-INGULF CHRONICLE." Traditio 73 (2018): 19–42. http://dx.doi.org/10.1017/tdo.2018.1.

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Crowland Abbey was one of many English monasteries after the Norman Conquest to forge documents that claimed a right to permanent sanctuary rooted in the Anglo-Saxon period. Yet Crowland's claims stand out because while other ecclesiastical chronicles that grounded their sanctuary claims in an earlier tradition did so in order to defend those rights in the twelfth century or later, Crowland never claimed this privilege for anything other than the abbey's Anglo-Saxon past. Indeed, I argue that the three forged “Anglo-Saxon” charters that make this assertion, which all appear in the Pseudo-Ingulf section of the abbey's chronicle, theHistoria Croylandensis, do so in order to emphasize a more fundamental claim about the institution's authority — its association with one of the most significant fenland saints, Guthlac. Moreover, I argue that the most likely date when this material was forged is the late twelfth century. In the context of the narrative in which they appear, these charters reveal that later medieval Crowland constructed a narrative that saw permanent sanctuary as an important feature of the abbey's Anglo-Saxon past.

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Madeline, Fanny. "Emily A. Winkler, Royal Responsibility in Anglo-Norman Historical Writings." Cahiers de civilisation médiévale, no. 248 (October 1, 2019): 419–21. http://dx.doi.org/10.4000/ccm.3963.

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LLORCA-TONDA, MARÍA ÁNGELES. "Nourritures terrestres et nourritures spirituelles dans "La Vie de Saint Gilles" de Guillaume de Berneville." Anales de Filología Francesa 28, no. 1 (2020): 471–90. http://dx.doi.org/10.6018/analesff.428031.

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La Vie de saint Gilles, texto anglonormando de finales del siglo XII escrito por Guillaume de Berneville, es una reescritura de una Vitae latina del siglo X. Las Vidas en lenguas vernáculas surgidas en el contexto anglonormando tienen como finalidad la de edificar a los fieles, a la vez que la de entretener y divertir. Guillaume de Berneville no duda en alternar motivos literarios paganos, con motivos hagiográficos tradicionales, para hacer más accesible la Vida a un público laico. El objetivo de este trabajo es el de analizar cómo el autor utiliza el motivo de la comida y el ayuno, uno de los preceptos del ascetismo, a la hora de estructurar y dar coherencia a su relato hagiográfico. La Vie de saint Gilles, an Anglo-Norman text from the late twelfth century written by Guillaume de Berneville, is a rewriting of a Latin Vitae from the tenth century. Lives in vernacular languages emerged in the Anglo-Norman context are intended to edify the faithful, as well as giving entertainment and fun. Guillaume de Berneville does not hesitate to alternate pagan literary motifs with traditional hagiographic motifs, to make Life more accessible to a lay public. The objective of this work is to analyse how the author uses the motive of food and fasting, one of the precepts of asceticism, when structuring and giving coherence to his hagiographic account.

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Postlewate, Laurie. "John of Howden, Rossignos., ed., Glynn Hesketh. (Anglo-Norman Texts, 63.) London: Anglo-Norman Text Society, 2006. Pp. x, 270; black-and-white frontispiece. £37.50." Speculum 85, no. 1 (2010): 152–54. http://dx.doi.org/10.1017/s0038713409990285.

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Merrilees, Brian. "The Anglo-Norman Lyric: An Anthology.David L. Jeffrey , Brian J. Levy." Speculum 67, no. 2 (1992): 431–33. http://dx.doi.org/10.2307/2864416.

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Vincent, Nicholas. "The Secular Jurisdiction of Monasteries in Anglo-Norman and Angevin England (review)." Catholic Historical Review 92, no. 4 (2006): 649–51. http://dx.doi.org/10.1353/cat.2007.0051.

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Constable, Giles. "John Munns, Cross and Culture in Anglo-Norman England, Theology, Imagery, Devotion." Cahiers de civilisation médiévale, no. 241 (January 1, 2018): 94–95. http://dx.doi.org/10.4000/ccm.5288.

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Merrilees, Brian. "Anglo-Norman Dictionary, 7: T-Z.William Rothwell , Stewart Gregory , D. A. Trotter." Speculum 69, no. 4 (1994): 1266–68. http://dx.doi.org/10.2307/2865697.

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Madeline, Fanny. "Wendy Marie Hoofnagle, The Continuity of the Conquest. Charlemagne and Anglo-Norman Imperialism." Médiévales 74, no. 74 (2018): 185–89. http://dx.doi.org/10.4000/medievales.8817.

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Jones, Peter Murray. "Anglo-Norman Medicine, 1: Roger Frugard's "Chirurgia," the "Practica Brevis" of Platearius.Tony Hunt." Speculum 73, no. 2 (1998): 539–41. http://dx.doi.org/10.2307/2887209.

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Christelow, Stephanie. "Anglo-Norman Armory Two: An Ordinary of Thirteenth-Century Armorials. Cecil Humphery-Smith." Speculum 64, no. 1 (1989): 178–79. http://dx.doi.org/10.2307/2852218.

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Fonnesberg-Schmidt, Iben, and William Kynan-Wilson. "SMILING, LAUGHING AND JOKING IN PAPAL ROME: THOMAS OF MARLBOROUGH AND GERALD OF WALES AT THE COURT OF INNOCENT III (1198–1216)." Papers of the British School at Rome 86 (February 12, 2018): 153–81. http://dx.doi.org/10.1017/s0068246217000435.

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This article examines textual descriptions of smiling, laughing and joking with the pope in thirteenth-century Rome. It focuses on two Anglo-Norman accounts of conducting litigation at the papal curia: Thomas of Marlborough's (d.1236) Chronicon abbatiae de Eveshamand Gerald of Wales's (c. 1146–1220×23)De jure et statu Menevensis ecclesiae. Both authors include several careful and prominent references to smiling, laughing and joking, and specifically in relation to Pope Innocent III. These passages have previously been read as straightforward examples of wit and friendship, but this study shows that the authors use these physiological expressions to convey complex and subtly different pictures of the papal curia. Above all, this article demonstrates how Thomas and Gerald's descriptions of humorous interactions with the pope play crucial narrative and mnemonic roles within their work.

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Fenoaltea, Stefano. "Domesday Economy: A New Approach to Anglo Norman History. John McDonald , G. D. Snooks." Speculum 63, no. 4 (1988): 954–56. http://dx.doi.org/10.2307/2853573.

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Emmerson, Richard K. "Daron Burrows, ed., The Abingdon Apocalypse (British Library, Add. 24555). (Anglo-Norman Texts.) Oxford: Anglo-Norman Text Society, 2017. Pp. xvi, 168; 1 color plate. £37.50. ISBN: 078-0-905474-63-2." Speculum 95, no. 1 (2020): 206–7. http://dx.doi.org/10.1086/705950.

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Hoey, Lawrence R. "The Articulation of Rib Vaults in the Romanesque Parish Churches of England and Normandy." Antiquaries Journal 77 (March 1997): 145–77. http://dx.doi.org/10.1017/s0003581500075181.

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Rib vaults appear in English architecture at the end of the eleventh century and by the early part of the next had spread throughout most parts of the country and across the Channel into Normandy. Rib construction was pioneered by the builders of great churches, first apparently at Durham, and was then developed and elaborated at sites such as Winchester, Gloucester, Peterborough, Lessay, Saint-Etienne in Caen, and many others. Although it is impossible to pinpoint the precise moment, by the second quarter of the twelfth century ribs were also being constructed in smaller churches in many areas of England and Normandy. Anglo-Norman parish church masons might construct ribs under towers or in porches, but the majority of survivals are in chancels, where the presence of ribs was clearly the result of a desire to distinguish and embellish the functionally most important and most sacred part of the church.

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Hill, Nick. "Hall and Chambers: Oakham Castle Reconsidered." Antiquaries Journal 93 (September 2013): 163–216. http://dx.doi.org/10.1017/s0003581513000231.

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The late twelfth-century aisled hall at Oakham Castle, Rutland, is well known as the earliest and most complete building of its type in England. This study, based on detailed fabric analysis and little-known excavations of the 1950s, puts forward a new theory for the building's development. It is proposed that the original hall had attached lean-to buildings at both gable ends, probably built of timber, housing services and other lesser rooms. Like other early halls, the principal chamber at Oakham took the form of a free-standing chamber block, some of whose features have been later incorporated in the surviving hall, including its great east window. Tree-ring dating has shown that, although the roof was rebuilt around 1737, many original timbers survive from the 1180s. A comparative study of other early halls is made, to set Oakham into its wider Anglo-Norman context.

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Cronin, Michael. "Ireland in translation." English Today 27, no. 2 (2011): 53–57. http://dx.doi.org/10.1017/s0266078411000216.

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Translation has long featured as a convenient metaphor for the Irish condition. However, its use as metaphor should not disguise the insights translation provides into the status and formation of Irish English. When Richard II arrived in Ireland in 1394 his problems were not only political and military. They were also linguistic. On the occasion of the visit of the Irish kings to Richard in Dublin that same year, James Butler, the second Earl of Ormond, had to interpret the king's speech into Irish. Loyalty to Richard's kingship did not extend to loyalty to his chosen tongue. The translation skills of another Earl of Ormond would be further called upon in 1541 when the Irish parliament made Henry VIII King of Ireland. The Earl on this occasion interpreted the Speaker's address into Irish for the benefit of the Lords and Commons, although they were predominantly of Anglo-Norman or Old English origin. The act of translation, in this instance, was not without its ironies. James Butler was interpreting into a language that had been outlawed four years previously under the Act for the English Order, Habit and Language.

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Journal articles on the topic 'Art, Anglo-Norman'

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