Are there differences between the character’s portrayal in the poem and the cinematic adaptations? To what extent has cinema reinvented monstrosity in Beowulf? How does this reflect our modern day view of humanity or the beast within?
It is one of the most popular epic tales from the Middle Ages. If you have read Beowulf, can you remember what’s missing from these ten passages?
In this thesis, I explore the intersection of nature and human society in the poem Beowulf.
ln the not so vast panorama of adaptations into comics of medieval literature, Beowulf is clearly an exception. Whilst several comic books series and graphic novels are inspired by the world of Icelandic sagas, very few of them can be considered as retellings of a specifics source text.
Since the inception of Beowulf scholarship approximately two hundred years ago, debate has persisted concerning the nature of the poem’s eponymous hero. Is he a historical Geatish prince or is he a ﬁctional character inserted into a historico-legendary world?
These texts also demonstrate that women’s power waned in the shift between pre-Christian and Christian Europe.
Grendel’s Mother tells the story of Brimhild, a child found abandoned in a boat on the shores of Denmark. Taken in by a…
The proposed study will take an indepth approach by examining two sets of passages to show that the similarities between the behaviors, descriptions, and lineages of the heroes and monsters are so precise that they exclude many other possible influences of Beowulf.
Viewers in the United Kingdom will be the first to see Beowulf: Return to the Shieldlands, as the new series premieres on ITV tonight at 7:00 pm. American viewers will need to wait until January 23rd, when the Esquire Network begins airing episodes.
In the spring of 2014 a translation of Beowulf by J.R.R. Tolkien was published. Last week, Andy Orchard, one of the leading scholars of Old English, offered his thoughts about the book and revealed that he will be writing his own translation of the famous medieval poem.
There was a time, not too long ago, when we thought we knew a great deal more about Beowulf than we do now.
How did the Anglo-Saxons think about history?
This paper explores the appropriation of the Old English poem by modern popular culture in such a distinctive 20th-century art-form as the comic book, which proves that a heroic, legendary story already old for the Anglo-Saxons —it was set in geardagum, ‘the ancient days’— still elicits the interest of the audience in the modern world.
Dark and visceral, the graphic novel version of Beowulf created by Gareth Hinds is considered to be one of the most successful adaptations of the Old English tale.
In twentieth- and twenty-first century Anglophone culture, the impact of Beowulfiana — what we call that amorphous mass of materials that have accumulated around the poem — has been widespread yet subtle.
The figure of Cain, the first rebel against the Lord and murderer of kin, acted as a particularly significant link in identifying ancient belief with the new faith through his descendant Grendel
Let’s take five minutes to look at medieval alliterative poetry, using some of the most famous poems of the period.
The literature of war in English claims its origin from the Homeric epics, and the medieval accounts of chivalry and the crusades.
J.R.R. Tolkien’s Middle-earth is Beowulf for the twentieth century.
A thirteen episode mini-series of Beowulf is being created by the the British broadcaster ITV.
My paper will seek to demonstrate how the poet’s mode of interpretation informs his moral perspective, which is compatible with the unmentioned (though implied) doctrine of Christianity and diametrically opposed to the older Anglo-Saxon religious customs the poet refers to as ‘heathen.’
Beowulf is one of many examples of a story that employs the rhetoric of the hero. The plight of the main character Beowulf is the focus of the tale, and the tasks that he must overcome throughout the course of the poem provide insight into the development of the character of the hero.
In our modern world, the repression of sexuality is still prevalent, although it is better masked than it was in the Middle Ages, and we still use the image of women and virginity to terrorize or save.
Considering the scarcity of the Anglo-Saxon influence in modern war-literature in general, one may wonder and stop by a work like The Lord of the Rings or Silmarillion, which few would be willing to categorise as serious war-literature.
Anglo-Saxonists everywhere should celebrate, perhaps annually in a brief offering of gifts at a local temple, the remarkable fact that Seamus Heaney completed his commissioned translation of Beowulf and published it in 1999, creating the first breaking wave of what was already a gradual tidal swell of interest in the text.