By David Clark, Nicholas Perkins
`An first-class collection... breaks new flooring in lots of parts. should still make a considerable impression at the dialogue of the modern effect of Anglo-Saxon Culture'. Conor McCarthy, writer of Seamus Heaney and the Medieval mind's eye Britain's pre-Conquest prior and its tradition maintains to fascinate glossy writers and artists. From Henry Sweet's Anglo-Saxon Reader to Seamus Heaney's Beowulf, and from excessive modernism to the musclebound heroes of comedian e-book and Hollywood, Anglo-Saxon England has been a robust and infrequently unforeseen resource of suggestion, antagonism, and mirrored image. The essays right here interact with the ways that the Anglo-Saxons and their literature were got, faced, and re-envisioned within the smooth mind's eye. they provide clean insights on validated figures, resembling W.H. Auden, J.R.R. Tolkien, and David Jones, and on modern writers comparable to Geoffrey Hill, Peter studying, P.D. James, and Heaney. They discover the interplay among textual content, picture and panorama in medieval and glossy books, the recasting of mythic figures equivalent to Wayland Smith, and the metamorphosis of Beowulf into Grendel - as a unique and as grand opera. The early medieval emerges now not as a website of nostalgia or anxiousness, in glossy revisions, yet as an alternative offers a necessary area for creativity, excitement, and creative test. individuals: Bernard O'Donoghue, Chris Jones, Mark Atherton, Maria Artamonova, Anna Johnson, Clare A. Lees, Sian Echard, Catherine A.M. Clarke, Maria Sachiko Cecire, Allen J. Frantzen, John Halbrooks, Hannah J. Crawforth, Joshua Davies, Rebecca Anne Barr
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Additional info for Anglo-Saxon Culture and the Modern Imagination (Medievalism)
13–58. See also Craig R. Davis, ‘Redundant Ethnogenesis in Beowulf ’, The Heroic Age 5 (2001), http ://www. html, accessed 30 July 2009. 26 On this aspect of the poem, see Andy Orchard, A Critical Companion to ‘Beowulf ’ (Cambridge, 2003), pp. 203–37. 2010 15:27 From Heorot to Hollywood 21 by the end of the film has sprouted turrets and crenellations) ; and whatever sixthcentury Scandinavian music did sound like, presumably it was not the Greensleevesesque songs which Wealhtheow, played by Robin Wright Penn, sings to the harp.
Zemeckis’s Beowulf, which clearly shares something of Grigsby’s view of the poem, is interesting in part for the opportunity it offers to reflect on what the filtered noise and din of Beowulf scholarship sounds like from the outside ; the film is a record of what escapes the academy and how its various discourses are selected, edited, altered, understood, misunderstood, and re-understood. Indeed, for an example of how research in the humanities has a wide social and cultural impact beyond the walls of the institutions of Higher Education, one need only browse the online interviews with Gaiman and Avary to see how familiar they became with the themes of a wide range of Beowulf scholarship in order to produce a multi-million-dollar-grossing Hollywood movie.
1875–6), 470–503 ; reprinted in his Collected Papers, ed. C. Wyld (Oxford, 1913), pp. 1–33. 2010 15:27 Priming the Poets 35 Sweet was not averse to seeing echoes of lost poems in some of the earlier annals of the Chronicle, for instance the annal for 473 (retaining Sweet’s presentation of the text) : Hér Hęngest and Æsc gef·uhton wiþ Wealas, and gen·ámon un-árímedlicu hęre-réaf, and þá Wealas flugon þá Ęngle swá swá fýr. Here Hengest and Æsc fought against the Welsh and seized immeasurable plunder, and the Welsh fled the English like fire.
Anglo-Saxon Culture and the Modern Imagination (Medievalism) by David Clark, Nicholas Perkins