Posts Tagged ‘Anglo-Saxon’

Dark Age Traffic on the Bristol Channel, UK: A Hypothesis

By Nancy Hollinrake

International Journal of Nautical Archaeology, Vol.36:2 (2007)

Abstract: Exotic pottery from the eastern Mediterranean and southern Gaul in the late 5th to 7th centuries is recognized as the characteristic find from Dark Age sites in Ireland and western Britain. But there is no consensus on the mechanisms by which they arrived. Interpretations range from diplomatic gifts through souvenirs to commerce. This attempt to resolve the issue is based on sites around the Bristol Channel. The quantities of pottery and numbers of sites are used to generate a rough estimate of the number of ships carrying the pottery to the area. It is argued that the estimated volume represents commercial trade.

Introduction: Since the 1960s it has been known that the Bristol Channel area was a major trade route for the importation of goods from the Mediterranean and Gaul in the Dark Ages, the period between the fall of the Roman Empire in Britain and the establishment of the Anglo-Saxon kingdoms in the West of Britain. In Somerset this dates roughly from AD 400 to 700, while the same period was extended in Wales until the disruptions of the Viking attacks. During this time the indigenous post-Roman British and Irish populations conducted their own affairs. The evidence for this exotic trade is in the form of pottery, but there may also have been perishable goods for which we now have no evidence. Find-spots of this pottery occur throughout the western parts of the British Isles, chiefly at or near to the coasts of Cornwall, Devon, Somerset, Wales, Ireland and Scotland. The dates of the finds suggest that they were imported into Britain throughout the 5th and 6th centuries.

Excavation of this type of pottery is often the clearest sign of the re-occupation of Iron-Age hillforts, suggesting aristocratic associations, but it is also found on other types of site as well. Sites like Trethurgy Round in Cornwall, for example, appear to show all the signs of being defended farmsteads, while Reask and Whithorn are monastic sites. Although Glastonbury and Carhampton are also monasteries, the imported pottery from both those sites was found in close association with metal-working. No clear pattern of deposition has so far emerged, although the suggestion that the imports should be considered to represent much-sought-after high-status items and commodities is difficult to refute.

Such large quantities of this pottery have been recovered from Tintagel that many scholars suggest this as proof of a commercial basis to the transactions, although other mechanisms have been put forward to account for this importation, such as gift-exchange, the high status of the site, and personal purchases by pilgrims to the Holy Land. Harris has suggested that the Mediterranean imports could have arrived in Britain as diplomatic gifts from the Emperor Justinian, who ruled Byzantium between 527 and 565. Apart from Tintagel, there is general agreement that the volume of the pottery is not great. The quantity of the trade, however, is crucial for its interpretation; only large quantities of imports may be interpreted as the product of commercial trade.

The Bristol Channel lies to the north of Cornwall, between south Wales and the coasts of Devon and Somerset, narrowing at its eastern end in the estuary of the River Severn. Lundy Island lies at its south-western margin. With the publication of the excavations at South Cadbury in Somerset, and other publications of excavated Dark Age sites in that region, it is now possible to quantify the imported pottery found in this part of the seaway.

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A Dark Age Peter Principle: Beowulf’s incompetence threshold

By Oren Falk

Early Medieval Europe, Vol.18:1 (2010)

Abstract: Many readers, recognizing the incompatibility of heroism with the duties of kingship, have argued that Beowulf tells a story of colossal failure. Drawing on anthropological theory, I propose that the protagonist is more Big-Man than king and that his heroism, far from a socially dysfunctional flaw, is in fact the leash by which society yanks him back from establishing himself as king. Beowulf thus speaks to an aristocracy disinclined to submit to royalty. The poem shines a light on Anglo-Saxons’ aversion to despotic rule: to protect its own decentralized political structure, society against the state foredooms King Beowulf to death.

Introduction: Beowulf is difficult material to work, especially for butter-fingered historians, accustomed to kneading less nimble sources than verse. On the one hand, one faces the opacity of the poem itself: there is so little we know with confidence about it – and so much of what each of us does know with any degree of certainty is flatly contradicted by what others fancy they do, no less securely. (One need only pick up the composite Toronto volume on The Dating of Beowulf to see how this particular song and dance goes. The subtitle of Eric Stanley’s concluding chapter says it all: ‘Some Doubts and No Conclusions’.) On the other hand, if J.R.R. Tolkien found it unprofitable ‘to read all that has been printed on, or touching on, this poem’ by 1936, the rate of publication in Beowulfiana nowadays literally makes it impossible to familiarize oneself with all of the secondary literature and (almost as literally) ensures that nothing really new could be said. On the third hand (even merely to gripe about Beowulf’s terrific complexity, one needs three hands), certain rules of etiquette have sedimented around the poem, setting limits to what can be ventured about it without offending against decorum. Ever since Tolkien issued a stern admonition against the practice, most readers have come to reject as Very Bad Form any analysis ‘that is directed [not] to the understanding of [the] poem as a poem’ but seeks, rather, to reduce it to a historian’s turnstile: a gateway into the early Middle Ages, which must be traversed, of course, but which hardly constitutes a destination in its own right. ‘Beowulf’, rebukes Tolkien, ‘has been used as a quarry of fact and fancy far more assiduously than it has been studied as a work of art.’ Critics travelling in his wake have seen fit to heed his call and turn back from excavating the poem to reading it.

Another of these ubiquitous rules of etiquette states that any novel investigation must start out by acknowledging the seminal role Tolkien’s ‘Monsters and Critics’ essay has played in setting the current research agenda. Since I have already observed this particular custom, I shall for the rest of my paper take the liberty of flying in the face of propriety. I shall do so, first, by staying aloof from the kind of close reading that Tolkien made de rigueur and opting, rather, for the excavational mode. My concern is not so much with Beowulf the poem as with the historical reality which underlies it; nor do I balk at handling the specific literary artefact cavalierly, if need be, in order to get at this submerged history. Second, I shall impose on Beowulf’s historical specificity some unabashedly anachronistic matrices. In other words, in my quest for the Dark Ages, I import alien thought tools, enta geweorc, explicitly fashioned to make sense of other times, other places and other mores. I wear as my justification nothing more than the methodological eclectic’s traditional (indeed, only) ribbon: use whatever works. Finally, I shall offend by suggesting that one of the very few points of consensus we do have about this poem – that its subject matter is the resolute heroism of a bygone (perhaps fictive) era, that ‘great contribution of early Northern literature’ (to quote Tolkien one last time), ‘the theory of courage . . . heathen, noble, and hopeless’– is, if not outright wrong, certainly misleading. Let me begin, then, with ‘heroism’, which – together with ‘hierarchy’ and ‘honour’– is one of the watchwords organizing my discussion.

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The Viking’s Defiant Bride 

By Joanna Fulford

Publisher: Harlequin, February 1, 2009

ISBN:9780373295340

Northumbria, 867 A.D.

Beautiful and courageous, the Lady Elgiva is as great a prize as the land the Viking conqueror now controls. Earl Wulfrum has taken her home, and now he will take her – as his unwilling bride. Wulfrum is a legendary warrior, but the strong-willed Elgiva proves the greatest challenge he has ever faced. Yet her response to his touch tells him she feels the all-consuming heat as much as he. Their passionate battle can end only one way – in the marriage bed!

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The brilliance of comitatus: aesthetics and society in early Anglo-Saxon England

By Kendra Mary Ann Adema

MA Thesis, Trent University, 2000

Abstract: In this thesis, key items of Anglo-Saxon material culture are examined in order to demonstrate the relationship between socio-cultural and aesthetic values in early Anglo-Saxon England. The theoretical framework employed herein is one in which the anthropology of experience is joined with symbolic and aesthetic anthropology. This approach is primarily contextual — involving a re-examination of archaeological data from 5th to 7th century Kentish burials. Evidence from historical and literary sources is employed to interpret the role played by these same artefacts in reinforcing both the ethos and the aesthetic of the comitatus social relationship.

This study begins with the premise that there exists no simple dichotomy between persons and things; instead, objects contribute to shaping our habitus. The positioning of burial goods within Anglo-Saxon graves is revelatory of their actual role in the creation of individual and group identity within early Anglo-Saxon society.

In this study, the life of these objects, the ways in which they moved through Anglo-Saxon society, were used, interacted with, and thought of, is examined to determine how aesthetic values were constructed and articulated within the comitatus relationship and how the interconnected roles of the waepned, the “weaponed” or warrior, and the webbe, the “weaver”, became lived metaphors within this society.

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The Lyric as Key to Salvation: An Example of Old English Poetry as Instrument of Meditation

By Carolin Esser

Paper given at the Medieval Religion Research Seminar at the Unviersity of York

Abstract: The Paper offers a further insight into the nature and function of the first of the so-called ‘Christ’ poems of the Exeter Book: ‘The Advent Lyrics’. It agrees with others, such as Judith Garde, that the group of Lyrics fashioned around the Monastic O’Antiphones are didactic. Rather than being didactic about the commonplace Christian content, however, I propose that the lyrics teach a more advanced student of Christian doctrine and the process of sacra pagina to use Old English poetry as a medium for meditation. Comments to this effect can be found in the texts, but the group does so mainly by example. Each lyric offers a different approach to rumination upon the underlying antiphon – and the group as a whole is a meditation upon a larger scale.

Introduction: Among the collection of riddles in the Old English poetic anthology known as the Exeter Book is found the following example:

A curious thing hangs by a man’s thigh,
under the lap of its lord. In its front it is pierced,
it is stiff and hard, it has a good position.
When the man lifts his own garment
above his knee, he intends to greet
with the head of his hanging object that familiar hole
which is the same length, and which he has often filled before.

The answer is, as you have surely all guessed directly – a key.

Riddle 44 is only one of the sub-groups of riddles based on sexual innuendo and ambiguity, that of the onion being another famous representative of this group. While the sexuality is limited to a few, the ambiguity of meanings is a feature prominent not only in the riddles, but popularly employed throughout Old English poetry in general. The riddle was designed to lead our understanding astray. Other poems use the interplay of various layers of meaning to express a deeper truth and to reflect the complexity of relationships between different elements of their subject. They thus expand the sense that can be derived from them. Such interplay is the product (and witness) of rumination upon a subject and can be followed in turn by the recipient to unravel the enigma of that deeper truth and meditate upon it. On a morphological level, literal meanings are complemented by figurative ones, for example, or paralleled to other literal meanings of polysemous words. Etymological interpretations can be incorporated.

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An Anglo-Saxon Cemetery in Lincolnshire

First Broadcast in 2001

On the surface it looks just like any other large Lincolnshire field. But when a pipe was laid across it a couple of years previously the trench dug then revealed a number of shallow graves. An exploratory dig in 1998 identified them as Anglo-Saxon – on a site which also threw up large quantities of Roman remains. An earlier water pipe, laid in 1954, had uncovered a lot of Roman pottery here too. So what did it all indicate? And what could Time Team learn about this possible Anglo-Saxon cemetery and former Roman settlement in the three days available?

Anglo-Saxon costume: a study of secular civilian clothing and jewellery fashions

By Gale R. Owen-Crocker

PhD Dissertation, Newcastle University, 1976

Abstract: The thesis consists of five parts: Introduction; Archaeological Evidence; Representations in Art; Literary and Linguistic Evidence; Conclusions. The archaeological evidence firstly considers costume in the. pagan period through an examination of finds from Anglo-Saxon cemeteries; the dress is reconstructed from the positions in which fasteners and ornaments have been found in relation to skeletal remains. The evidence is arranged according to county of origin, thirty counties being considered alphabetically, anti is followed by a discussion.

Secondly, the smaller corpus of fasteners and clothing adjuncts from the Christian Saxon period is considered. Thirdly, the materials from which the dress was made are discussed with reference to a list of leather and textile fragments surviving from Anglo-Saxon clothing. Points considered include techniques of manufacture, origins of unusual fabrics and the functions of different materials.

The discussion of art examines representations of figures in what may have been contemporary costume. Information is derived from illuminated manuscripts, the Bayeux Tapestry, stone sculptures,. ivories and metalwork. Evidence of costume from Old English, Latin, Welsh and Old Icelandic texts is followed by consideration of Old English garment names and other Old English words related to clothing.

The terms are arranged according to the pröbable function of the articles they represented: * materials, outer garments, body garments, loin and leg coverings, footwear, headgear, accessories, general terms and clasps. A discussion follows. The conclusions include descriptions of the probable appearance of men and women during the successive centuries of the Anglo-Saxon era; with suggestions as to the cultural influences which may have contributed to the changes in dress which took place during this time.

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The Lancelot Murders

By J.M.C. Blair

Publisher: Berkley Mass Market, May 5, 2009

ISBN: 9780425228135

When Lancelot is accused of murdering Queen Guenevereas father, she begs Merlin to prove his innocence. Though inclined to leave the faithless knight to his fate, Merlin risks his very life to find the truth at King Arthuras bidding.

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Hospitality in pre-viking Anglo-Saxon England

By Alban Gautier

Early Medieval Europe, Vol.17:1 (2009)

Abstract: This article studies the question of Anglo-Saxon hospitality, that is, in the first place, the gift (from a host to a guest) of food, fodder, roof and bed for a night or for a longer term.

Contrary to Romantic visions, it was nothing like a spontaneous and free practice: Marcel Mauss and other anthropologists after him have shown that giving and receiving were obligations, compulsory acts in pre-market societies. In Anglo-Saxon England, hospitality was always a duty, strictly limited and framed by custom. It may have been provided to a single traveller, to a member of a formal or informal network (particularly ecclesiastical), to a king or to his agents in the form of a pastus or feorm: a kind of ‘guesting’ or compulsory hospitality which was progressively given up by kings as they booked lands to religious institutions.

The forms and beneficiaries may vary, but the opposition between ’spontaneous’ feasting and ‘compulsory’ guesting must not be stressed too much: hospitality was always a kind of binding exchange, even when it assumed the shape, the aspect, and even the values of a free and open practice.

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The Rose & the Shield

By Elaine Barbieri

Dorchester Pub. Co. Inc., March 1, 2009

ISBN: 9780843960143

His love could heal her heart.

After Norman raiders killed her family and confiscated their holdings, Rosamund of Hendsmille dressed as a lad and dreamed of revenge. But even roughly chopped hair and breeches could not disguise her extraordinary beauty. Soon she was in a more urgent kind of danger—until an injured stranger rode into her life and taught her to trust again.

Her tears could bring him to his knees.

He became her shadow, her fierce protector, her lover, but even as he won her heart, Dagan feared that he could never keep it. As a warrior, he would fight to have the woman he’d claimed as his own. But when she realized that the loyalty he’d sworn to her belonged equally to the king she loathed, would she relinquish her hatred to save their love?

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