By David Clark, Nicholas Perkins

`An first-class collection... breaks new floor in lots of parts. should still make a considerable influence at the dialogue of the modern impact of Anglo-Saxon Culture'. Conor McCarthy, writer of Seamus Heaney and the Medieval mind's eye Britain's pre-Conquest earlier and its tradition maintains to fascinate smooth 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 sometimes unforeseen resource of notion, antagonism, and mirrored image. The essays the following have interaction with the ways that the Anglo-Saxons and their literature were bought, faced, and re-envisioned within the glossy mind's eye. they provide clean insights on verified figures, resembling W.H. Auden, J.R.R. Tolkien, and David Jones, and on modern writers reminiscent of Geoffrey Hill, Peter interpreting, P.D. James, and Heaney. They discover the interplay among textual content, picture and panorama in medieval and smooth books, the recasting of mythic figures akin to Wayland Smith, and the metamorphosis of Beowulf into Grendel - as a unique and as grand opera. The early medieval emerges no longer as a domain of nostalgia or nervousness, in sleek revisions, yet in its place presents an essential enviornment for creativity, excitement, and creative test. participants: 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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Extra resources for Anglo-Saxon Culture and the Modern Imagination (Medievalism)

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7 With a focus on Sweet’s developing thought, then, this chapter will explore the cultural and intellectual background of the textbook that twentieth-century poets such as Pound were to use so fruitfully and creatively. 8 His starting point was the older book by Yale Review 71 (1982), 199–224, repr. in The Tomb of Beowulf and Other Essays on Old English (Oxford, 1993), pp. 239–58 ; Michael Alexander, ‘Ezra Pound as Translator’, Translation and Literature 6 (1997), 23–30 ; Michael Alexander, The Poetic Achievement of Ezra Pound, 2nd edn (Edinburgh, 1998) ; Chris Jones, ‘“Ear for the sea-surge” : Pound’s Uses of Old English’, in his Strange Likeness : The Uses of Old English in Twentieth-Century Poetry (Oxford, 2006), pp.

And I didn’t know that it was world literature. I just thought it was this thing they based a comic on. From my point of view I was just reading a story, and it was great as a story. I always assume  which is probably a bad post-modern habit  I always assume my narrators are unreliable unless I learn otherwise. So I was reading it going, ‘Beowulf, you head off searching for the monster’s mother and you disappear for eight days, you reappear eight days later carrying the monster’s head but not the mother’s  I wonder if there’s an element of textual unreliability going on here.

512–32. C. , Warton’s History of English Poetry, 4 vols. (London, 1871), II, pp. 3–18, at p. 6. 22 Sweet, ‘Sketch’, p. 16. 23 Eric G. Stanley, The Search for Anglo-Saxon Paganism (Cambridge, 1975), pp. 37–8, 53–64, 104. 24 However, absolutely none of this appears in the Notes to the 1876 Reader.

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