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Journal articles on the topic 'English language English poetry Old Norse poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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1

Ross, Margaret Clunies. "The Anglo-Saxon and NorseRune Poems: a comparative study." Anglo-Saxon England 19 (December 1990): 23–39. http://dx.doi.org/10.1017/s0263675100001587.

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It has been customary, since comparative scholarship in the field of Germanic literatures began, to explain perceived similarities between Old English and Old Norse poetry in terms of their derivation from common cultural roots and closely cognate languages. Similarities in the two poetic systems have been regarded as evidence of the conservation of ideas, figures of speech and poetic forms. Such similarities have then been used to reveal what the ‘original’ Germanic customs, ideas and literary expressions might have been before the various tribal groups dispersed to their historical medieval

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2

Alexander, M. J. "Old English Poetry into Modern English Verse." Translation and Literature 3, no. 3 (1994): 69–75. http://dx.doi.org/10.3366/tal.1994.3.3.69.

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3

Phelpstead, C. "HEATHER O'DONOGHUE. English Poetry and Old Norse Myth: A History." Review of English Studies 66, no. 275 (2015): 563–65. http://dx.doi.org/10.1093/res/hgu119.

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4

Howe, N. "Maxims in Old English Poetry." Notes and Queries 49, no. 4 (2002): 506–7. http://dx.doi.org/10.1093/nq/49.4.506.

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5

Howe, Nicholas. "Maxims in Old English Poetry." Notes and Queries 49, no. 4 (2002): 506–7. http://dx.doi.org/10.1093/nq/490506.

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6

Goering, Nelson. "The Fall of Arthur and The Legend of Sigurd and Gudrún : A Metrical Review of Three Modern English Alliterative Poems." Journal of Inklings Studies 5, no. 2 (2015): 3–56. http://dx.doi.org/10.3366/ink.2015.5.2.2.

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J.R.R. Tolkien produced a considerable body of poetry in which he used the traditional alliterative metre of Old Norse and Old English to write modern English verse. This paper reviews three of his longer narrative poems, published in The Legend of Sigurd and Gudrún and The Fall of Arthur, examining Tolkien’s alliterative technique in comparison to medieval poetry and to the metrical theories of Eduard Sievers. In particular, the two poems in The Legend of Sigurd and Gudrún, which are adapted from Old Norse material, show a number of metrical and poetic features reminiscent of Tolkien’s source

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7

Dance, Richard, and H. Momma. "The Composition of Old English Poetry." Modern Language Review 94, no. 4 (1999): 1067. http://dx.doi.org/10.2307/3737239.

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8

Liuzza, R. M., and Peter Orton. "The Transmission of Old English Poetry." Modern Language Review 98, no. 1 (2003): 154. http://dx.doi.org/10.2307/3738184.

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9

Allen, Rosamund S., Carol Braun Pasternack, and Peter Clemoes. "The Textuality of Old English Poetry." Modern Language Review 92, no. 3 (1997): 682. http://dx.doi.org/10.2307/3733397.

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10

Robinson, F. C. "The Transmission of Old English Poetry." Notes and Queries 49, no. 2 (2002): 262–63. http://dx.doi.org/10.1093/nq/49.2.262-a.

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11

Robinson, Fred C. "The Transmission of Old English Poetry." Notes and Queries 49, no. 2 (2002): 262–63. http://dx.doi.org/10.1093/nq/490262a.

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12

Niles, John D. "Sign and Psyche in Old English Poetry." American Journal of Semiotics 9, no. 4 (1992): 11–25. http://dx.doi.org/10.5840/ajs1992943.

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13

Lutz, Angelika. "Æthelweard's Chronicon and Old English poetry." Anglo-Saxon England 29 (January 2000): 177–214. http://dx.doi.org/10.1017/s0263675100002453.

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The author of the Chronicon Æthelweardi is commonly identified with the ealdor-man of the western shires who signed charters from 973–98 and played an important political role particularly in King Æthelred's England. Ealdorman Æthelweard is also known as the patron of Abbot Ælfric, as the addressee of Ælfric's famous preface to his translation of Genesis and of his Old English preface to his Lives of Saints; that is, we know him as a person who took great interest in religious texts written in or translated into the vernacular. The Chronicon was written in Latin, although it was mainly based o

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14

North, Richard, and Hugh Magennis. "Images of Community in Old English Poetry." Modern Language Review 94, no. 1 (1999): 152. http://dx.doi.org/10.2307/3736007.

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15

Hill-Vasquez, Heather, and G. A. Lester. "The Language of Old and Middle English Poetry." Rocky Mountain Review of Language and Literature 51, no. 1 (1997): 96. http://dx.doi.org/10.2307/1348087.

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16

Brookman, Helen, and Olivia Robinson. "Creativity, Translation, and Teaching Old English Poetry." Translation and Literature 25, no. 3 (2016): 275–97. http://dx.doi.org/10.3366/tal.2016.0259.

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This article explores the benefits to undergraduate learning, and the broader critical significance of, the ‘creative translation’ of Old English literature. First-year students of English language and literature at Oxford University were encouraged to inhabit and understand poetic texts by producing creative, free modern versions that responded to the content, form, style, and sound of the source text. How far this approach helps students is analysed through their own perspectives on the process, gathered via interviews. Their writing is explored as a visible product of their learning, and as

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17

Morgan, Gerald, and Richard J. Schrader. "Old English Poetry and the Genealogy of Events." Modern Language Review 90, no. 2 (1995): 404. http://dx.doi.org/10.2307/3734555.

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18

Griffith, M. "ANTONINA HARBUS. Cognitive Approaches to Old English Poetry." Review of English Studies 64, no. 267 (2013): 878–79. http://dx.doi.org/10.1093/res/hgt010.

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19

Griffith, Mark. "Whole-verse Compound Placement in Old English Poetry." Notes and Queries 53, no. 3 (2006): 253–62. http://dx.doi.org/10.1093/notesj/gjl062.

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20

Suzuki, Seiichi. "The role of syllable structure in old english poetry." Lingua 67, no. 2-3 (1985): 97–119. http://dx.doi.org/10.1016/s0024-3841(85)90038-5.

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21

Stanley, E. G. "Old English Poetic Superlatives." Anglia 135, no. 2 (2017): 241–73. http://dx.doi.org/10.1515/ang-2017-0025.

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AbstractThis paper is designed to show how difficult it is for us in the twenty-first century to establish a valid response to the superlative of adjectives as used in Old English verse. In contradistinction to the monochromatically excessive use of superlatives in modern advertising, the distribution of superlatives is very varied in the English verse of more than a thousand years ago. The first part of the paper consists of a general survey of Old English superlatives, chiefly in the vernacular verse of the Anglo-Saxons, but their prose has not been wholly neglected. The study is evaluative,

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22

Irvine, Martin, and John P. Hermann. "Allegories of War: Language and Violence in Old English Poetry." South Atlantic Review 56, no. 2 (1991): 127. http://dx.doi.org/10.2307/3199964.

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23

Conde Silvestre, Juan Camilo. "New Verse Translations of Old English Poetry into Spanish." Atlantis. Journal of the Spanish Association for Anglo-American Studies 42, no. 1 (2020): 235–47. http://dx.doi.org/10.28914/atlantis-2020-42.1.12.

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24

STANLEY, E. G. "OLD ENGLISH POETRY: ‘OUT OF THE PEOPLE'S WARM MOUTH‘?" Notes and Queries 44, no. 1 (1997): 6–21. http://dx.doi.org/10.1093/nq/44-1-6.

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25

STANLEY, E. G. "OLD ENGLISH POETRY: ‘OUT OF THE PEOPLE'S WARM MOUTH‘?" Notes and Queries 44, no. 1 (1997): 6–21. http://dx.doi.org/10.1093/nq/44.1.6.

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26

Magennis, Hugh. "God’s Exiles and English Verse: On the Exeter Anthology of Old English Poetry." English Studies 102, no. 2 (2021): 270–73. http://dx.doi.org/10.1080/0013838x.2021.1875651.

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27

O'Donoghue, Bernard. "Medievalism and Writing Modern Poetry." Irish University Review 45, no. 2 (2015): 229–41. http://dx.doi.org/10.3366/iur.2015.0174.

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Bernard O'Donoghue argues that his choice of specialising in the medieval parts of an English degree may have been unconsciously dictated by the language and culture of an Irish Catholic upbringing and school education. At Umeraboy National School in North Cork he learned the writing and reading of English and Irish simultaneously, giving no particular privilege to the language spoken at home, English. A possible consequence of this was an everyday acceptance of unfamiliar vocabulary, which was reinforced by daily encounters with the Latin-derived language of prayer: words like ‘implored’, ‘in

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28

Jacobs, Nicolas. "Celtic saga and the contexts of old English elegiac poetry." Etudes Celtiques 26, no. 1 (1989): 95–142. http://dx.doi.org/10.3406/ecelt.1989.1906.

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29

Edwards, A. S. G., and Daniel Donoghue. "Style in Old English Poetry: The Test of the Auxiliary." Modern Language Review 85, no. 2 (1990): 400. http://dx.doi.org/10.2307/3731820.

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30

Wawn, Andrew, and Judith N. Garde. "Old English Poetry in Medieval Christian Perspective: A Doctrinal Approach." Modern Language Review 89, no. 1 (1994): 182. http://dx.doi.org/10.2307/3733170.

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31

Cornelius, Ian, and Eric Weiskott. "The intricacies of counting to four in Old English poetry." Language and Literature: International Journal of Stylistics 30, no. 3 (2021): 249–75. http://dx.doi.org/10.1177/09639470211012297.

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The metrical theory devised by Eduard Sievers and refined by A. J. Bliss forms the basis for most current scholarship on Old English meter. A weakness of the Sievers–Bliss theory is that it occupies a middle ground between two levels of analytic description, distinguished by Roman Jakobson in an influential article as ‘verse instance’ and ‘verse design’. Metrists in the Sievers–Bliss tradition employ a concept of metrical position (a key component of verse design), yet the focus of attention usually remains on the contours of stress of individual verses. Important exceptions are the studies of

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32

Hill, John M. "Interactions of Thought and Language in Old English Poetry. Peter Clemoes." Modern Philology 96, no. 1 (1998): 61–65. http://dx.doi.org/10.1086/492718.

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33

Louviot, Elise. "Transitions from Direct Speech to Narration in Old English Poetry." Neophilologus 97, no. 2 (2012): 383–93. http://dx.doi.org/10.1007/s11061-012-9312-6.

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34

Edwards, A. S. G. "Gavin Bone and his Old English Translations." Translation and Literature 30, no. 2 (2021): 147–69. http://dx.doi.org/10.3366/tal.2021.0461.

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This article examines the verse translations of various shorter Old English poems and of Beowulf by the Oxford scholar Gavin Bone (1907–1942), mainly published posthumously. It provides a biographical account of him, before going on assess his introductions to Anglo-Saxon Poetry (1943) and Beowulf (1945). It further describes the various techniques Bone used in his translations, the lexical and metrical forms he employed, and their relative degrees of success. The article also considers the illustrations Bone created to accompany his Beowulf translation. It concludes with an examination of the

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35

Bredehoft, Thomas A. "The Language of Old and Middle English Poetry by G. A. Lester." Studies in the Age of Chaucer 20, no. 1 (1998): 296–98. http://dx.doi.org/10.1353/sac.1998.0025.

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36

MacDonald, A. A. "Daniel Donoghue. Style in Old English poetry: The test of the auxiliary." Studies in Language 13, no. 2 (1989): 525–27. http://dx.doi.org/10.1075/sl.13.2.24mac.

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37

Neidorf, Leonard, Yi Zhao, and Jie Yu. "Line Length in Old English Poetry: A Chronological and Stylistic Criterion." Neophilologus 103, no. 4 (2019): 561–75. http://dx.doi.org/10.1007/s11061-019-09596-8.

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38

Valdés Miyares, J. Rubén. "The Functions of Anglo-Saxon Poetry: An Old English Text Typology." English Studies 100, no. 7 (2019): 739–66. http://dx.doi.org/10.1080/0013838x.2019.1604013.

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39

Qiu, Yang. "The "Blooming" of English Poetry in the Middle School Classroom---Take “When You are Old” as an Example." Region - Educational Research and Reviews 3, no. 2 (2021): 48. http://dx.doi.org/10.32629/rerr.v3i2.339.

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The poetry teaching in this class aims at cultivating the students’ core literacy in the English subject, training students’ language ability, learning ability, cultural character, and thinking quality as the end point, adopts the "target step by step" teaching model and the narrative research method. Students made perception, recitation, appreciation, imitation and comparison of “When You are Old”. The teaching results found that English poetry has a certain significance and value for the cultivation of English core literacy.

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40

Corbett, John. "Strange Likeness: The Use of Old English in Twentieth-Century Poetry (review)." Translation and Literature 16, no. 2 (2007): 265–69. http://dx.doi.org/10.1353/tal.2007.0016.

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41

Smith, Ross. "J. R. R. Tolkien and the art of translating English into English." English Today 25, no. 3 (2009): 3–11. http://dx.doi.org/10.1017/s0266078409990216.

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ABSTRACTTranslation techniques favoured by Tolkien in rendering Beowulf and other medieval poetry into modern English. J. R. R. Tolkien was a prolific translator, although most of his translation work was not actually published during his lifetime, as occurred with the greater part of his fiction. He never did any serious translation from modern foreign languages into English, but rather devoted himself to the task of turning Old English and Middle English poetry into something that could be readily understood by speakers of the modern idiom. His largest and best-known published translation is

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42

Rusten, Kristian A. "A quantitative study of empty referential subjects in Old English prose and poetry." Transactions of the Philological Society 113, no. 1 (2014): 53–75. http://dx.doi.org/10.1111/1467-968x.12043.

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43

Parks, Ward. "The traditional narrator and the ‘I heard’ formulas in Old English poetry." Anglo-Saxon England 16 (December 1987): 45–66. http://dx.doi.org/10.1017/s0263675100003859.

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In the process of literary interpretation no critic can afford to overlook the rôle of the poetic narrator. While poetic and narrative statements (as it is commonly argued) designate their meaning largely in accordance with the conventions of language and literary discourse, linguistic criteria alone cannot determine the attitude of the speaker towards what he says; and this attitude constitutes a crucial element in the meaning of the statement as a speech act or utterance. Indeed, as users of language, all of us habitually include considerations of speaker intentions in our standard operation

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44

Magennis, Hugh. "Monig OFT Ges�t: some images of sitting in old English poetry." Neophilologus 70, no. 3 (1986): 442–52. http://dx.doi.org/10.1007/bf00459825.

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45

Burrows, Hannah. "Riddles and Kennings." European Journal of Scandinavian Studies 51, no. 1 (2021): 46–68. http://dx.doi.org/10.1515/ejss-2020-2017.

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Abstract The skaldic kenning is frequently described as ‘riddling’ or ‘riddle-like’. Valuable work has been done (e. g. Lindow1975) in establishing the structural, linguistic, and cognitive similarities between kennings and riddles, but this has usually been done in terms of the broad modern English sense(s) of the word ‘riddle’ or ‘riddling’. This paper, more specifically, explores the comparison by examining Old Norse riddles, namely items described as gátur in their textual setting, and Old Norse kennings, in the context of each other. In doing so it highlights Old Norse poetic techniques o

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46

O'donoghue, H. "CHRIS JONES. Strange Likeness: The Use of Old English in Twentieth-Century Poetry." Review of English Studies 58, no. 237 (2007): 758–59. http://dx.doi.org/10.1093/res/hgm108.

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47

Highley, Sarah L. "Representation and Design: Tracing a Hermeneutics of Old English Poetry. Pauline E. Head." Modern Philology 97, no. 2 (1999): 237–41. http://dx.doi.org/10.1086/492837.

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48

Daly, James. "Orality, Germanic Literacy and Runic Inscriptions in Anglo-Saxon England." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 5, no. 1 (2017): 39–52. http://dx.doi.org/10.14195/2182-8830_5-1_3.

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The presence of runic writing before the influx of Latinate literacy in Anglo-Saxon England is often neglected when investigating the transitional nature of orality and literacy in vernacular Anglo-Saxon writing. The presence of runes in Anglo-Saxon society and Old English manuscripts supports the theory that Old English poetry operated within a transitional period between orality and literacy (as argued by O'Keeffe (1990), Pasternack (1995), Amodio (2005)). However runic symbols problematize the definition of orality within Old English oral-formulaic studies because runic writing practices pr

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49

Corbett, John. "Strange Likeness: The Use of Old English in Twentieth-Century Poetry, by Chris Jones." Translation and Literature 16, no. 2 (2007): 265–69. http://dx.doi.org/10.3366/tal.2007.0016.

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50

Ruff, C. "JANIE STEEN. Verse and Virtuosity: The Adaptation of Latin Rhetoric in Old English Poetry." Review of English Studies 60, no. 247 (2009): 801–2. http://dx.doi.org/10.1093/res/hgp097.

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