Daniel Donoghue – författare

This Norton Critical Edition includes:• Nobel Laureate Seamus Heaney’s poetic translation of the great Anglo-Saxon epic—winner of the Whitbread Prize—along with his translator’s introduction.• Detailed explanatory annotations and an introduction to Old English language and prosody by Daniel Donoghue.• More than two dozen visuals, including, new to the Second Edition, a fine selection of objects from the Staffordshire Hoard.• A rich array of Anglo-Saxon and early northern civilisation materials, providing student readers with Beowulf’s cultural and historical context.• Nine critical interpretations, three of them new to the Second Edition.• A glossary of personal names and a selected bibliography.

This innovative and intriguing introduction to Old English literature is structured around what the author calls ‘figures’ from Anglo-Saxon culture: the Vow, the Hall, the Miracle, the Pulpit, and the Scholar. An innovative and intriguing introduction to Old English literature. Structured around ‘figures’ from Anglo-Saxon culture: the Vow, the Hall, the Miracle, the Pulpit, and the Scholar. Situates Old English literary texts within a cultural framework. Creates new connections between different genres, periods and authors. Combines close textual analysis with historical context. Based on the author’s many years experience of teaching Old English literature. The author is co-editor with Seamus Heaney of Beowulf: A Verse Translation (2001) and recently published with Blackwell Lady Godiva: A Literary History of the Legend (2003).

This book investigates who Lady Godiva was, how the story of her naked horseback ride through Coventry arose, and how the whole Godiva legend has evolved from the thirteenth century through to the present day. Traces the erotic myth of Lady Godiva back to its medieval origins. Based on scholarly research but written to be accessible to general readers. Combines history, literature, art and folklore. Focuses on the twin themes of voyeurism and medievalism. Contributes to our understanding of cultural history, medievalism and the history of sexuality.

This innovative and intriguing introduction to Old English literature is structured around what the author calls ‘figures’ from Anglo-Saxon culture: the Vow, the Hall, the Miracle, the Pulpit, and the Scholar. An innovative and intriguing introduction to Old English literature. Structured around ‘figures’ from Anglo-Saxon culture: the Vow, the Hall, the Miracle, the Pulpit, and the Scholar. Situates Old English literary texts within a cultural framework. Creates new connections between different genres, periods and authors. Combines close textual analysis with historical context. Based on the author’s many years experience of teaching Old English literature. The author is co-editor with Seamus Heaney of Beowulf: A Verse Translation (2001) and recently published with Blackwell Lady Godiva: A Literary History of the Legend (2003).

This innovative and intriguing introduction to Old English literature is structured around what the author calls ‘figures’ from Anglo-Saxon culture: the Vow, the Hall, the Miracle, the Pulpit, and the Scholar. An innovative and intriguing introduction to Old English literature. Structured around ‘figures’ from Anglo-Saxon culture: the Vow, the Hall, the Miracle, the Pulpit, and the Scholar. Situates Old English literary texts within a cultural framework. Creates new connections between different genres, periods and authors. Combines close textual analysis with historical context. Based on the author’s many years experience of teaching Old English literature. The author is co-editor with Seamus Heaney of Beowulf: A Verse Translation (2001) and recently published with Blackwell Lady Godiva: A Literary History of the Legend (2003).

The scribes of early medieval England wrote out their vernacular poems using a format that looks primitive to our eyes because it lacks the familiar visual cues of verse lineation, marks of punctuation, and capital letters. The paradox is that scribes had those tools at their disposal, which they deployed in other kinds of writing, but when it came to their vernacular poems they turned to a sparser presentation. How could they afford to be so indifferent? The answer lies in the expertise that Anglo-Saxon readers brought to the task. From a lifelong immersion in a tradition of oral poetics they acquired a sophisticated yet intuitive understanding of verse conventions, such that when their eyes scanned the lines written out margin-to-margin, they could pinpoint with ease such features as alliteration, metrical units, and clause boundaries, because those features are interwoven in the poetic text itself. Such holistic reading practices find a surprising source of support in present-day eye-movement studies, which track the complex choreography between eye and brain and show, for example, how the minimal punctuation in manuscripts snaps into focus when viewed as part of a comprehensive system.How the Anglo-Saxons Read Their Poems uncovers a sophisticated collaboration between scribes and the earliest readers of poems like Beowulf, The Wanderer, and The Dream of the Rood. In addressing a basic question that no previous study has adequately answered, it pursues an ambitious synthesis of a number of fields usually kept separate: oral theory, paleography, syntax, and prosody. To these philological topics Daniel Donoghue adds insights from the growing field of cognitive psychology. According to Donoghue, the earliest readers of Old English poems deployed a unique set of skills that enabled them to navigate a daunting task with apparent ease. For them reading was both a matter of technical proficiency and a social practice.

The scribes of early medieval England wrote out their vernacular poems using a format that looks primitive to our eyes because it lacks the familiar visual cues of verse lineation, marks of punctuation, and capital letters. The paradox is that scribes had those tools at their disposal, which they deployed in other kinds of writing, but when it came to their vernacular poems they turned to a sparser presentation. How could they afford to be so indifferent? The answer lies in the expertise that Anglo-Saxon readers brought to the task. From a lifelong immersion in a tradition of oral poetics they acquired a sophisticated yet intuitive understanding of verse conventions, such that when their eyes scanned the lines written out margin-to-margin, they could pinpoint with ease such features as alliteration, metrical units, and clause boundaries, because those features are interwoven in the poetic text itself. Such holistic reading practices find a surprising source of support in present-day eye-movement studies, which track the complex choreography between eye and brain and show, for example, how the minimal punctuation in manuscripts snaps into focus when viewed as part of a comprehensive system.How the Anglo-Saxons Read Their Poems uncovers a sophisticated collaboration between scribes and the earliest readers of poems like Beowulf, The Wanderer, and The Dream of the Rood. In addressing a basic question that no previous study has adequately answered, it pursues an ambitious synthesis of a number of fields usually kept separate: oral theory, paleography, syntax, and prosody. To these philological topics Daniel Donoghue adds insights from the growing field of cognitive psychology. According to Donoghue, the earliest readers of Old English poems deployed a unique set of skills that enabled them to navigate a daunting task with apparent ease. For them reading was both a matter of technical proficiency and a social practice.

This book investigates who Lady Godiva was, how the story of her naked horseback ride through Coventry arose, and how the whole Godiva legend has evolved from the thirteenth century through to the present day. Traces the erotic myth of Lady Godiva back to its medieval origins. Based on scholarly research but written to be accessible to general readers. Combines history, literature, art and folklore. Focuses on the twin themes of voyeurism and medievalism. Contributes to our understanding of cultural history, medievalism and the history of sexuality.

This book investigates who Lady Godiva was, how the story of her naked horseback ride through Coventry arose, and how the whole Godiva legend has evolved from the thirteenth century through to the present day. Traces the erotic myth of Lady Godiva back to its medieval origins. Based on scholarly research but written to be accessible to general readers. Combines history, literature, art and folklore. Focuses on the twin themes of voyeurism and medievalism. Contributes to our understanding of cultural history, medievalism and the history of sexuality.

Shortly after Morton Bloomfield's death in 1987, a number of his friends and colleagues sought a way to honor and preserve his memory. The result was a lecture of more than ordinary interest and more than ordinary prominence, signified by the fact that each would be published for individual circulation and then would be collected, as they are here, to appear in print for a wider audience. The lectures contained here reflect Morton Bloomfield's own wide and varied interests: literature, the history of philosophy, language studies, and Judaic studies. Morton W. Bloomfield's broad learning and personal popularity were unrivaled among his fellow medievalists, and this volume demonstrates the outpouring of those close to him and whom he influenced. The lectures contained within deal with a wide variety of topics, all a fitting tribute to a scholar who touched so many lives.