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Relevant bibliographies by topics / Rune poem (Anglo-Saxon poem)

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Academic literature on the topic 'Rune poem (Anglo-Saxon poem)'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 March 2023

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Journal articles on the topic "Rune poem (Anglo-Saxon poem)"

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Mae Kilker. "The Rune Poem and the Anglo-Saxon Ecosemiosphere: Identifying the Eolh-Secg in Man and Plant." Journal of English and Germanic Philology 116, no. 3 (2017): 310. http://dx.doi.org/10.5406/jenglgermphil.116.3.0310.

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Nash, Walter. "An Anglo-Saxon mystery." Language and Literature: International Journal of Stylistics 19, no. 1 (February 2010): 99–113. http://dx.doi.org/10.1177/0963947009356721.

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The Anglo-Saxon poem called Wulf and Eadwacer, a text so deeply embedded in ambiguity as to have achieved canonic status on that account alone, is the subject of this exercise, which reviews briefly the progress of interpretation from the late 19th century to the present time. It then considers methods of study, as orientated from the source-text, which begets translations, or, conversely from various translations leading back to the source. The pedagogic implications of ‘teaching a poem’ arise out of this discussion, which consequently questions the purpose and value of translation as an instructional and imaginative exercise.

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Rigaux, Maxim, and Stijn Praet. "Editorial Note." Journal of Latin Cosmopolitanism and European Literatures, no. 2 (November 26, 2019): iv—v. http://dx.doi.org/10.21825/jolcel.v2i0.15635.

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The image on the cover of this second issue of JOLCEL shows a detail from the so-called Franks Casket, an early eight-century Anglo-Saxon chest made out of whale’s bone, possibly designed to hold a psalter. This artefact constitutes a truly breath-taking nexus of cultural traditions, juxtaposing tableaus as varied as Romulus and Remus being suckled by the shewolf, the mythical Germanic Wayland the Smith at work on his anvil, and the Adoration of the Magi. The scene which has been reproduced here depicts the consequences of the Roman emperor Titus’ sacking of the city of Jerusalem. The inscription in the upper righthand margin starts out in the Latin tongue and script: “hic fugiant hierusalim” (“Here flee from Jerusalem…”). This phrase is then continued vertically, still in Latin but rendered in Anglo-Saxon runes: “ᚪᚠᛁᛏᚪᛏᚩᚱᛖᛋ,” which can be transcribed as “(h)abitatores” (“…its inhabitants”). If we also were to take a look at the left side of this panel (not included here), we would encounter further runic inscriptions in Anglo-Saxon that describe the ancient siege itself. Clearly, Latin and its cultural past are being represented here as being part of a larger and more complex whole, a whole in which, at first sight, they do not even seem to occupy a central position. This leads us to the present volume’s overarching topic, ‘Latin on the margins’, which has its earliest origins in the Telling Tales Out of School-conference organised by RELICS in 2017. It might come as a surprise to the reader that, only having arrived at our second issue, we turn to the aspect of Latin on the margins. However, by placing these topics at the centre of our journal, and in dialogue with texts that are traditionally considered key texts of the Latin tradition, we seek to reconsider the aspect of centre versus margin in Latin literature, with a particular focus on how education in Latin played a crucial role in this. Indeed, the three articles we present to the reader in this issue deal with texts that are generally viewed as examples of the use of Latin in the margins. The margins in question are either geographical ones (Tlatelolco in Mexico City) or chronological ones (nineteenthcentury Sweden). This issue hopes to show that what we have come to define as ‘marginal’ is only a question of perspective. In the formation of writers that we consider today to be at the margin of the Latin tradition, Latin education still was—or had recently become—a central element. Andrew Laird (Brown University) and Heréndira Tellez Nieto (Cátedras Conacyt), in their respective articles, draw attention to the College of Tlatelolco, located in Mexico City. The use of Latin for the instruction of the Nahua peoples was never regarded as a ‘marginal’ phenomenon; on the contrary, Latin was a crucial medium to enhance mutual understanding, which in turn created a new and vibrant dynamic, far from Europe. This explains how Tlatelolco became a new centre for the study of the Latin language and its literatures, in interaction with the indigenous traditions of native Mexicans. Chronologically and geographically, nineteenth-century Sweden is, undoubtedly, at the margin of the Latin tradition; but, as Arsenii Vetushko-Kalevich (Lund University) explores in his article, for someone like Carl Georg Brunius, author of the longest Latin poem ever written in Sweden, the attempt to rewrite Nordic mythology in classical Latin hexameters probably felt more like a natural reflex than as an anachronism. By reinterpreting the classical echoes in the epic De diis arctois as more than mere “metrical necessities,” Vetushko-Kalevich seeks to give new meaning to the poem. Finally, in his illuminative response to the articles of this issue, Alejandro Coroleu (ICREA—Universitat Autònoma de Barcelona) reflects more deeply on the consequences of this thinking in terms of what he calls “beyond Europe, beyond the Renaissance, and beyond the vernacular.” He makes a plea for the inclusion of these texts that are usually left out of the picture, in order to get a better insight in the aspects which make the Latin tradition a cosmopolitan one. The second issue of JOLCEL focuses on texts from the (early) modern period, but intentionally goes beyond those of the Italian humanist ideals. The articles analyse the use of Latin in contexts where the idea of translatio imperii is at first sight no longer a logical one: the Latin tradition has to impose itself on already existing traditions, such as the Nahua mythology or Nordic sagas. Interestingly, this imposition soon shifts to a renegotiation of the hierarchy of traditions. Latin, then, becomes a medium in which new traditions emerge.

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Viljoen, L. "The Beowulf manuscript reconsidered: Reading Beowulf in late Anglo-Saxon England." Literator 24, no. 2 (August 1, 2003): 39–58. http://dx.doi.org/10.4102/lit.v24i2.290.

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This article defines a hypothetical late Anglo-Saxon audience: a multi-layered Christian community with competing ideologies, dialects and mythologies. It discusses how that audience might have received the Anglo-Saxon poem Beowulf. The immediate textual context of the poem constitutes an intertextual microcosm for Beowulf. The five texts in the codex provide interesting clues to the common concerns, conflicts and interests of its audience. The organizing principle for the grouping of this disparate mixture of Christian and secular texts with Beowulf was not a sense of canonicity or the collating of monuments with an aesthetic autonomy from cultural conditions or social production. They were part of the so-called “popular culture” and provide one key to the “meanings” that interested the late Anglo-Saxon audience, who would delight in the poet=s alliteration, rhythms, word-play, irony and understatement, descriptions, aphorisms and evocation of loss and transience. The poem provided cultural, historical and spiritual data and evoked a debate about pertinent moral issues. The monsters, for instance, are symbolic of problems of identity construction and establish a polarity between “us” and the “Other”, but at the same time question such binary thinking. Finally, the poem works towards an audience identity whose values emerge from the struggle within the poem and therefore also encompass the monstrous, the potentially disruptive, the darkness within B that which the poem attempts to repress.

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Neville, Jennifer. "Hrothgar's horses: feral or thoroughbred?" Anglo-Saxon England 35 (December 2006): 131–57. http://dx.doi.org/10.1017/s026367510600007x.

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AbstractThis article sets forth the contrast between the image of the horses in Beowulf and the image of Anglo-Saxon horses that can be derived from archaeology, historical narratives, wills, law codes and glossaries. It focuses particularly on the issue of colour, represented in the poem by the difficult word fealu and its derivative, æppelfealu. It argues that the horses described in Beowulf do not match up closely with Anglo-Saxon horses recorded in any century and that they would have struck the poem's tenth-century audience as very strange. This strangeness has implications for our understanding of Anglo-Saxon reception of the poem.

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Tatarkina, Svetlana Mikhailovna. "Concept “Weapon” in the Anglo-Saxon Poem “Judith”." Filologičeskie nauki. Voprosy teorii i praktiki, no. 2 (February 2020): 191–97. http://dx.doi.org/10.30853/filnauki.2020.2.38.

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Glaeske, Keith. "Eve in Anglo-Saxon Retellings of the Harrowing of Hell." Traditio 54 (1999): 81–101. http://dx.doi.org/10.1017/s0362152900012204.

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A spate of recent articles attests to a growing interest in Eve in criticism of Old English literature. However, these same articles demonstrate the narrowness of this interest, as they all focus on Eve in one poem — Genesis B — which is not even an entire poem, but rather a small (albeit significant) interpolation into another poem. Other Old English writings have been little studied: in particular, several prominent occurrences of Eve during the Harrowing of Hell survive in the Old English Martyrology; Blickling Homily 7; a homily De descensu Christi ad inferos in Oxford, Bodleian Library, MS Junius 121; and the poem Christ and Satan, but have received little comment. In each of these texts Eve supplicates Christ when he descends into hell to free the souls of the biblical patriarchs and prophets after his crucifixion; furthermore, six Old English homilies record Eve's appearance during the Harrowing, although not her active involvement. The Evangelium Nicodemi most fully describes the Harrowing of Hell; Eve's appearance within these texts, however, does not derive from this apocryphon. Moreover, while these episodes incorporate ideas drawn from patristic exegesis, they do not derive directly from patristic writings either; nevertheless, Eve's role in these texts may be an Anglo-Saxon modification of the patristic contrast between Eve and Mary, whereby Eve is portrayed as a type of Mary instead of as her antithesis.

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Matyushina, Inna G. "ALFRED THE ÆTHELING AND THE ANGLO-SAXON CHRONICLE POEM." RSUH/RGGU Bulletin. Series History. Philology. Cultural Studies. Oriental Studies, no. 7 (2015): 83–121. http://dx.doi.org/10.28995/2073-6355-2015-7-83-121.

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Lundgreen-Nielsen, Flemming. "Grundtvig, angelsakserne og Sidste Digt." Grundtvig-Studier 50, no. 1 (January 1, 1999): 208–26. http://dx.doi.org/10.7146/grs.v50i1.16341.

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On Grundtvig and Anglo-Saxon Poetry, esp. Regarding his Last PoemBy Flemming Lundgreen-NielsenThe article discusses the degree of Anglo-Saxon influence on Grundtvig’s poetical imagery and on his conception of the transition from earthly life through death to eternal life and salvation. S.A.J. Bradley’s emphasis on Anglo-Saxon reminiscences in Grundtvig’s farewell poem, 1872 (in Heritage and Prophecy, 1993) is acknowledged as as a valuable contribution to the understanding of the text; yet his moderation of the influence from the poetical practice of Danish 18th century lyrical poets and from the Greek myth of Charon, the ferryman of death, is questioned in the light of Danish 19lh century reception of these recent writers and of Grundtvig’s own preoccupation with Greek myths and history in the 1840s. William Michelsen’s interpretation of Grundtvig’s last poem (in Grundtvig Studier 1995) is discussed in some detail, relating to the idea of the action as a reversal, i.e. Christianization, of the Charon or Valhal myth. Finally Merete Bøye’s attempt (in Grundtvig Studier 1998) to establish a dichotomy borrowed from Anglo-Saxon Christian poetry of Hall and Ocean (»Hal« and »Hav«) in Grundtvig’s writings, understood as symbolic locations in an eschatological perspective, is supplemented by information of the use of these words and terms in the literary universe of Grundtvig and his contemporaries. The article concludes with an 1832 quotation from Grundtvig to the effect that in true poetry and true prophecies, produced by skalds who are not professional soothsayers, ambiguity is the point, allowing each reader to make what he can of it. Therefore a comprehension of Grundtvig’s last poem should not be narrowed down to the con-sideration of only one pattern, in this case from Anglo-Saxon poetry.

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Smith, Scott Thompson. "The Edgar poems and the poetics of failure in the Anglo-Saxon Chronicle." Anglo-Saxon England 39 (December 2010): 105–37. http://dx.doi.org/10.1017/s0263675110000074.

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AbstractThe two poems dedicated to King Edgar in Anglo-Saxon Chronicle manuscripts ABC can be dated with some precision. This essay consequently reads the Edgar poems as contemporary products of two very different historical moments during the Benedictine reform. Written from a distinctly monastic perspective, the poem for 973 was one of many ideological texts and events from late in Edgar's reign committed to affirming the king's divinely-sanctioned sovereignty. The 973 poem realigns the function of verse in the Chronicle, adopting dynastic praise poetry to more ecclesiastical concerns. The poem for 975, however, breaks with the Chronicle precedent of panegyric verse and instead offers a critical complaint against the attacks on monastic landholdings in the wake of Edgar's death. The two Edgar poems can be best appreciated as historically-situated verse productions.

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Dissertations / Theses on the topic "Rune poem (Anglo-Saxon poem)"

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Moffett, Joe. "The search for origins in the twentieth-century long poem : Sumerian, Homeric, Anglo-Saxon /." Morgantown, W. Va. : West Virginia University Press, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=015671691&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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Hopkins, Stephen Chase Evans. "Solving the Old English Exodus: An Active Problem Solving Approach to the Poem." Miami University Honors Theses / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1303488106.

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Books on the topic "Rune poem (Anglo-Saxon poem)"

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1948-, Griffiths Bill, Parry Nicholas, Tern Press, and Press Collection (Library of Congress), eds. The Rune poem. [Market Drayton, England]: Tern Press, 1989.

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Anglo-Saxon mythology, migration, & magic. Pinner, Middlesex, England: Anglo Saxon Books, 1994.

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Butler, Robert McMaster. The Seafarer, 1-66A: an approach to an edition. Ann Arbor, MI: University Microfilms International, 1987.

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Huval, Barbara Jane. Anglo-Saxon lexical and literary implications in the works of the Gawain-poet. Ann Arbor, MI: University Microfilms International, 1985.

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5

Remley, Paul G. Old English biblical verse: Studies in Genesis, Exodus and Daniel. Cambridge: Cambridge University Press, 1996.

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Andersen, Hans Erik. The Battle of Maldon: The meaning, dating & historicity of an Old English poem. [Copenhagen]: Dept. of English, University of Copenhagen, 1991.

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Goodwyn, Erik D. A psychological reading of the Anglo-Saxon poem, Beowulf: Understanding everything as a story. Lewiston, NY: Edwin Mellen Press, 2014.

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The Saxon genesis: An edition of the West Saxon genesis B and the old Saxon vatican genesis. Madison, Wis: University of Wisconsin Press, 1991.

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Morrissey, Ted. The Beowulf poet and his real monsters: A trauma-theory reading of the Anglo-Saxon poem. Lewiston, New York: The Edwin Mellen Press, 2013.

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Kaup, Judith. The old English Judith: A study of poetic style, theological tradition and Anglo-Saxon Christian concepts. Lewiston, New York: The Edwin Mellen Press, 2013.

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Book chapters on the topic "Rune poem (Anglo-Saxon poem)"

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Bredehoft, Thomas A. "Malcolm and Margaret: The Poem in Annal 1067D." In Reading the Anglo-Saxon Chronicle, 31–48. Turnhout: Brepols Publishers, 2010. http://dx.doi.org/10.1484/m.sem-eb.3.4448.

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Birkett, Tom. "Translating a Tradition: the Rune Poems of Anglo-Saxon England and Medieval Scandinavia." In Text, Transmission, and Transformation in the European Middle Ages, 1000–1500, 21–42. Turnhout, Belgium: Brepols Publishers, 2018. http://dx.doi.org/10.1484/m.cursor-eb.5.114647.

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Gretsch, Mechthild, and Helmut Gneuss. "Anglo-Saxon Glosses to a Theodorean Poem?" In Latin Learning and English Lore (Volumes I & II), edited by Katherine O'Brien O'Keeffe and Andy Orchard. Toronto: University of Toronto Press, 2005. http://dx.doi.org/10.3138/9781442676589-004.

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"The Hymnus trium puerorum: An Unrecognized Poem by Wulfstan of Winchester?" In Anglo-Saxon Micro-Texts, 347–66. De Gruyter, 2019. http://dx.doi.org/10.1515/9783110630961-017.

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Brooks, Francesca. "‘He’ll latin-runes tellan in his horror-coat standing’." In Poet of the Medieval Modern, 170–208. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198860136.003.0005.

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Chapter 4 focuses on the area across the east coast of Britain first thought to have been settled by post-Roman migrants, that of the East Anglian and Lincolnshire fenland, and the exploration of this contested space in ‘Angle-Land’. In the part of ‘Angle-Land’ focused on the fen Jones engages in a poetic search for the lost Britons of the early medieval fen by reading the eighth-century Anglo-Latin Vita Sancti Guthlaci Auctore Felice alongside recent archaeological finds from Caistor-by-Norwich. This chapter proposes that this search ultimately questions the extent of the foreignness of the Welsh in this supposedly ‘Anglo-Saxon’ space, allowing Jones to reimagine Guthlac as an Anglo-Welsh saint and to create a new macaronic language for twentieth-century Britain.

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Williams, David-Antoine. "Afterword." In The Life of Words, 256–58. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198812470.003.0007.

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…or does it? Paul Muldoon’s ironically self-reflexive end of the poem might be met with words spoken by the Anglo-Saxon scop in a poem by Seamus Heaney called ‘The Fragment’: ‘Since when […] Are the first line and last line of any poem | Where the poem begins and ends?’ (EL, 57)....

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"5. Rune Lists and Alphabet Poems: Studying the Letter in Later Anglo-Saxon England." In Runes and Roman Letters in Anglo-Saxon Manuscripts. Berlin, Boston: De Gruyter, 2016. http://dx.doi.org/10.1515/9783110492774-008.

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North, Richard. "Meet the pagans: on the misuse of Beowulf in Andreas." In Aspects of knowledge, 185–209. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9780719097843.003.0009.

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Richard North’s chapter argues that the Old English verse saint’s life Andreas (on the apostle St Andrew) appropriates the secular epic poem Beowulf for mock-epic purposes, turning knowledge of Beowulf, a poem which by implication must have been famous in Anglo-Saxon England, to a new Christian purpose. Andreas is seen to offer through its mock-epic style a satirical commentary on the heathen nostalgia of Beowulf. In Andreas knowledge of secular literature and its version of the past is astutely re-appropriated for religious purposes, being absorbed into and transcended by a Christian celebration of the true heroism of the saint. This chapter adds a new dimension to the understanding of Anglo-Saxon literary history and the place of secular tradition within it.

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Williams, Howard. "Beowulf and Archaeology: Megaliths Imagined and Encountered in Early Medieval Europe." In The Lives of Prehistoric Monuments in Iron Age, Roman, and Medieval Europe. Oxford University Press, 2015. http://dx.doi.org/10.1093/oso/9780198724605.003.0012.

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Since the mid nineteenth century AD, the poem Beowulf has long been a quarry for inspiration, analogy and insight for those exploring the archaeology of Early Medieval Britain and Scandinavia (Cramp 1957; Hills 1997; Webster 1998; Owen-Crocker 2000). The dialogue of archaeology and poem has been employed to explore a range of Early Medieval social practices and structures: the production and circulation of weapons and armour through inheritance and gift-giving, the role of vessels and feasting practices, hall-building and ceremony, the hoarding of treasure, and various dimensions of funerary practice including barrow-burial, boat-burial, and cremation. In discussing many of these practices, scholars have recently pointed to the sense of the past in the poem as a practice-orientated form of social memory. Synergies have been identified between heroic poetry and the ceremonial use of material culture, monuments, architectures, and landscapes identified in poetry and archaeological evidence as distinct but related technologies of remembrance within the hierarchical Christian Anglo-Saxon kingdoms that emerge during the mid to late seventh century AD (Williams 1998; 2006; 2011a; 2011b; Owen-Crocker 2000; Semple 2013). In this fashion, the assertions of legitimacy and identities by Early Medieval elites, including their claims to land, power and people, were performed through the ritualized reuse, appropriation and naming of ancient monuments and their deployment within rituals and oral performances, including poetry (Semple 2013; see also Price 2010). The locations and immediate environs of major later Anglo-Saxon churches and elite residences, and the maritime and land routes connecting them, provided the dramaturgical and ritualized settings and media by which social memories were transmitted and reproduced. Landmarks such as ancient monuments were actively integrated through reuse for a variety of functions from burial to assembly (Williams 2006; Reynolds and Langlands 2011; Semple 2013). In particular, Sarah Semple’s (2013) important interdisciplinary survey and analysis of Anglo-Saxon perceptions and reuse of prehistoric monuments from the fifth to the eleventh centuries AD, identifies the variegated and shifting perceptions of prehistoric monuments revealed by later Anglo-Saxon texts, manuscript illustrations, place-names and archaeological evidence (see also Semple 1998; 2004).

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Bishop, Chris. "Beowulf: Dragon Slayer (1975)." In Medievalist Comics and the American Century. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496808509.003.0007.

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Failure can be just as illuminating as success, and so this looks at the alarmingly short-lived Beowulf: Dragon Slayer. By the mid-1970s, when the Anglo-Saxon hero appeared in his own title series, Beowulf, the Anglo-Saxon poem, was yet to transition from an academic to a popular milieu, and a continuous and steadfastly nationalist interpretation made it very difficult for the poem’s eponymous hero to get the sort of traction enjoyed by folk heroes such as Robin Hood or Thor. Subsequently, Beowulf: Dragon Slayer, despite the innate worthiness of its subject and despite the efforts of DC heavyweights like Michael Uslan, was doomed before issue one hit the newsstands.

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