Gillian R. Overing – författare

An exhilarating journey across a distant literary landscape, this book takes us to those places described, evoked, or invented in Beowulf and the sagas of Iceland. Chronicling their own travels in Scandinavia, charting the geography of medieval history and fiction, the authors negotiate the complex territory where past and present meet. In this encounter, ancient and modern viewpoints converge, forming a new way into the northern world of medieval literature.Overing and Osborn use a variety of approaches, borrow from different disciplines, and employ an array of styles to discover and "reinvent" the landscape of these texts. Through their scholarly appraisals and personal encounters, maps and photographs, we accompany them as they follow Beowulf's sea route and travel to Drangey, the remote island in the Saga of Grettir. Here and at numerous other legendary sites, we see how the past is made up of divergent stories told in the present, and how our own histories and desires influence the shape and purpose of those stories. These experiences and places, imagined and real, frame a new and essentially interdisciplinary space where a conversation among different professional, personal, and cultural viewpoints-a conversation that engages individual desire-can take place. This book will appeal to medievalists, historians, cultural geographers, critical theorists, and those who like to travel, whether in literature or their own good time. ContentsIntroduction1.Mapping BeowulfReinventing Beowulf's voyage to DenmarkTraveling home with Beowulf2.Geography in the ReaderPlace in QuestionIceland and IcelandersPlaces in QuestionSelves in PlacePlaces in Translation and the Metonymy of Terrain3.The Saga of the SagaThe Road to DrangeyWhere's Grettir?

This volume offers a dialogue with and through the medieval informed by cultural categories of performativity and simultaneity in on-line media, architecture, film, poetry, and social formations. The articles depart from Medievalism Studies and attempt to answer questions such as: How do medievalists, artists, writers, and entertainment industries communicate, replicate, and evoke medieval formations? How do national and transnational discursive fields relate to understandings of the medieval in its many unstable states? Where are the communal memory sites and what functions do they serve for those who are associated with them? Where are the medieval disjunctions and conjunctions of race, ethnicity and time in a settler society? And what do place, nature, and landscape have to do with it?

"One of the great virtues of American/Medieval Goes North is ist wide range of contributors with fascinatingly diverse relationships to the main terms of analysis. There are academic scholars, poets, filmmakers, tribal elders, teachers at various levels; there are Indigenous people, people from settler colonial cultures, expats, immigrants. Their analytic and imaginative encounters with the North catch at the intensely symbolic and political charge of that locus. At a time when Medieval Studies cannot afford to ignore the period''s popular uptake – cannot continue with business as usual in the face of white supremacists'' brazen appropriations of the Middle Ages – this volume points to new possibilities for grappling with the uneasy relationships between the ''American'' and the ''medieval''." – Prof Carolyn Dinshaw, New York University

This anthology explores the relationship between feminism and writing theory. The chapters cover the major issues: basic pedagogical theory and philosophical approaches to the teaching of writing, studies of problems encountered by female writers and writing instructors, and useful how-to essays on classroom technique. The authors also address important, provocative questions about power in the classroom-its use, abuse, and distribution.The book is based on the concept of equity, which the editors define: "Equity does not mean to us the abolition of differences among individuals, nor does it imply a blanket imposition of an Orwellian homogeneity. It does not mean stifling some voices so that others may be heard; it does not demand the compromising of academic standards in the name of egalitarianism. Equity, as we understand it, creates new standards which accommodate and nurture differences. Equity fosters the individual voice in the classroom, investing students with confidence in their own authority. Equity unleashes the creative potential of heterogeneity. this definition of equity is at the heart of this anthology, and our attempts as teachers to model our pedagogy on this principle provided the impetus for assembling it." - from the Introduction