Brian McMahon is an Associate Lecturer in English at Oxford Brookes University and Artistic Director at Reverend Productions.Annemari Ferreira is Assistant Professor of English as a Foreign Language and Writing Centre Coordinator at SolBridge International School of Business, Woosong University, South Korea. She holds a research fellowship at the Africa Open Institute for Music, Research and Innovation at Stellenbosch University, South Africa.

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• AcknowledgementsList of ContributorsIntroduction by Terry GunnellPart 1: The Social Dynamics of PerformanceChapter 1: Framing Old Norse Performance Contexts: The Wedding at Reykjahólar (1119) Revisited by Stephen A. MitchellPart 2: Voice and PerformanceChapter 2: Revisiting Zumthorian Vocality in Old Norse Poetry Studies by Inés García LópezChapter 3: …með skarða skjöldu ok skotnar brynjur: The Distribution and Function of Aural Sense Impressions in Old Norse Poetry by Simon NygaardChapter 4: Dramatic Implications of Echoed Speech in Skírnismál by Harriet SoperPart 3: Collocation and QuotationChapter 5: Eddic Poetry and the Uses of Anonymity by John McKinnellChapter 6: Accretive Quotation and the Performance of Stanzas in Fagrskinna by Helen F. Leslie-JacobsenPart 4: Material CultureChapter 7: Old Norse Poetry in Visual Art: a Comparative Perspective with the Islamic World by Rebeca Franco ValleChapter 8: How the Hell Do You Read This? – The Evolution of Eddic Orality through Manuscript Performance by FrogPart 5: Modern Approaches to Performing Old Norse PoetryChapter 9: Old Norse Poetry in Performance: Perils, Pitfalls and Possibilities by Brian McMahonChapter 10: Interview with Leif StinnerbomChapter 11: Interview with Einar SelvikChapter 12: Beowulf, the Edda, and the Performance of Medieval Epic: Notes from the Workshop of a Reconstructed ‘Singer of Tales’ by Benjamin BagbyChapter 13: ‘ıð beſta eꝛ quæðeð fm̄ flutt’: Kveðnar Drápur og Kveðnar Rímur by Pétur Húni Björnsson

Brian McMahon is an Associate Lecturer in English at Oxford Brookes University and Artistic Director at Reverend Productions.Annemari Ferreira is Assistant Professor of English as a Foreign Language and Writing Centre Coordinator at SolBridge International School of Business, Woosong University, South Korea. She holds a research fellowship at the Africa Open Institute for Music, Research and Innovation at Stellenbosch University, South Africa.

Select Guide Rating

• AcknowledgementsList of ContributorsIntroduction by Terry GunnellPart 1: The Social Dynamics of PerformanceChapter 1: Framing Old Norse Performance Contexts: The Wedding at Reykjahólar (1119) Revisited by Stephen A. MitchellPart 2: Voice and PerformanceChapter 2: Revisiting Zumthorian Vocality in Old Norse Poetry Studies by Inés García LópezChapter 3: …með skarða skjöldu ok skotnar brynjur: The Distribution and Function of Aural Sense Impressions in Old Norse Poetry by Simon NygaardChapter 4: Dramatic Implications of Echoed Speech in Skírnismál by Harriet SoperPart 3: Collocation and QuotationChapter 5: Eddic Poetry and the Uses of Anonymity by John McKinnellChapter 6: Accretive Quotation and the Performance of Stanzas in Fagrskinna by Helen F. Leslie-JacobsenPart 4: Material CultureChapter 7: Old Norse Poetry in Visual Art: a Comparative Perspective with the Islamic World by Rebeca Franco ValleChapter 8: How the Hell Do You Read This? – The Evolution of Eddic Orality through Manuscript Performance by FrogPart 5: Modern Approaches to Performing Old Norse PoetryChapter 9: Old Norse Poetry in Performance: Perils, Pitfalls and Possibilities by Brian McMahonChapter 10: Interview with Leif StinnerbomChapter 11: Interview with Einar SelvikChapter 12: Beowulf, the Edda, and the Performance of Medieval Epic: Notes from the Workshop of a Reconstructed ‘Singer of Tales’ by Benjamin BagbyChapter 13: ‘ıð beſta eꝛ quæðeð fm̄ flutt’: Kveðnar Drápur og Kveðnar Rímur by Pétur Húni Björnsson

Brian McMahon is an Associate Lecturer in English at Oxford Brookes University and Artistic Director at Reverend Productions.Annemari Ferreira is Assistant Professor of English as a Foreign Language and Writing Centre Coordinator at SolBridge International School of Business, Woosong University, South Korea. She holds a research fellowship at the Africa Open Institute for Music, Research and Innovation at Stellenbosch University, South Africa.

Select Guide Rating

• AcknowledgementsList of ContributorsIntroduction by Terry GunnellPart 1: The Social Dynamics of PerformanceChapter 1: Framing Old Norse Performance Contexts: The Wedding at Reykjahólar (1119) Revisited by Stephen A. MitchellPart 2: Voice and PerformanceChapter 2: Revisiting Zumthorian Vocality in Old Norse Poetry Studies by Inés García LópezChapter 3: …með skarða skjöldu ok skotnar brynjur: The Distribution and Function of Aural Sense Impressions in Old Norse Poetry by Simon NygaardChapter 4: Dramatic Implications of Echoed Speech in Skírnismál by Harriet SoperPart 3: Collocation and QuotationChapter 5: Eddic Poetry and the Uses of Anonymity by John McKinnellChapter 6: Accretive Quotation and the Performance of Stanzas in Fagrskinna by Helen F. Leslie-JacobsenPart 4: Material CultureChapter 7: Old Norse Poetry in Visual Art: a Comparative Perspective with the Islamic World by Rebeca Franco ValleChapter 8: How the Hell Do You Read This? – The Evolution of Eddic Orality through Manuscript Performance by FrogPart 5: Modern Approaches to Performing Old Norse PoetryChapter 9: Old Norse Poetry in Performance: Perils, Pitfalls and Possibilities by Brian McMahonChapter 10: Interview with Leif StinnerbomChapter 11: Interview with Einar SelvikChapter 12: Beowulf, the Edda, and the Performance of Medieval Epic: Notes from the Workshop of a Reconstructed ‘Singer of Tales’ by Benjamin BagbyChapter 13: ‘ıð beſta eꝛ quæðeð fm̄ flutt’: Kveðnar Drápur og Kveðnar Rímur by Pétur Húni Björnsson