http://hdl.handle.net/10023/69 2013-05-19T06:26:56Z 2013-05-19T06:26:56Z D'Arcens, Louise Jones, Chris http://hdl.handle.net/10023/3337 2013-02-06T22:01:08Z 2013-01-01T00:00:00Z

Abstract: Comparing nineteenth-century British and Australian Anglo-Saxonist literature enables a "decentered" exploration of Anglo-Saxonism's intersections with national, imperial, and colonial discourses, challenging assumption that this discourse was an uncritical vehicle of English nationalism and British manifest destiny. Far from reflecting a stable imperial center, evocations of 'ancient Englishness' in British literature were polyvalent and self-contesting, while in Australian literature they offered a response to colonization and emerging knowledge about the vast age of Indigenous Australian cultures.

2013-01-01T00:00:00Z D'Arcens, Louise Jones, Chris Comparing nineteenth-century British and Australian Anglo-Saxonist literature enables a "decentered" exploration of Anglo-Saxonism's intersections with national, imperial, and colonial discourses, challenging assumption that this discourse was an uncritical vehicle of English nationalism and British manifest destiny. Far from reflecting a stable imperial center, evocations of 'ancient Englishness' in British literature were polyvalent and self-contesting, while in Australian literature they offered a response to colonization and emerging knowledge about the vast age of Indigenous Australian cultures. Jones, Chris http://hdl.handle.net/10023/3319 2013-01-07T17:01:02Z 2012-01-01T00:00:00Z 2012-01-01T00:00:00Z Jones, Chris Jones, Chris http://hdl.handle.net/10023/3291 2012-12-14T10:31:02Z 2012-12-20T00:00:00Z 2012-12-20T00:00:00Z Jones, Chris Dillon, Sarah Joanne http://hdl.handle.net/10023/3242 2013-05-12T02:06:36Z 2011-03-01T00:00:00Z

Abstract: This essay reads Michel Faber’s debut novel Under the Skin (2000) in the context of contemporary philosophical and literary critical debates about the ethical relation between human and nonhuman animals. It argues that Faber’s text engages with, but deconstructs, the traditional division of ‘no language, no subjectivity’ by a heretical act of renaming human beings as ‘vodsels,’ and by an extensive process of figurative transformation. The paper then proceeds to a sustained analysis of the main character in the novel, Isserley, in the light of Gilles Deleuze and Felix Guattari’s theories of becoming-animal, the anomalous, and becoming-molecular. The paper concludes that the novel engages in the limitrophy – Derrida’s neologism – required to negotiate the abyssal limit between the human and nonhuman animal.

2011-03-01T00:00:00Z Dillon, Sarah Joanne This essay reads Michel Faber’s debut novel Under the Skin (2000) in the context of contemporary philosophical and literary critical debates about the ethical relation between human and nonhuman animals. It argues that Faber’s text engages with, but deconstructs, the traditional division of ‘no language, no subjectivity’ by a heretical act of renaming human beings as ‘vodsels,’ and by an extensive process of figurative transformation. The paper then proceeds to a sustained analysis of the main character in the novel, Isserley, in the light of Gilles Deleuze and Felix Guattari’s theories of becoming-animal, the anomalous, and becoming-molecular. The paper concludes that the novel engages in the limitrophy – Derrida’s neologism – required to negotiate the abyssal limit between the human and nonhuman animal. Dillon, Sarah Joanne http://hdl.handle.net/10023/3241 2013-05-12T01:33:01Z 2005-09-01T00:00:00Z

Abstract: In 1845, Thomas De Quincey inaugurated the substantive concept of 'the palimpsest'. Since then, this concept has frequently occurred in creative, critical and theoretical texts across the fields of literature, philosophy and cultural studies. This article brings together some of those diverse texts in order to draw attention to how the palimpsest is reinscribed in and by a range of contemporary critical discourses, including deconstruction, psychoanalysis, postcolonial theory, feminism and queer theory. Moreover, the palimpsest is crucial to these discourses' rethinking of such key contemporary issues as the subject, time, history, culture, gender and sexuality, and the processes of reading and writing themselves. The movement of elucidation here is reciprocal and simultaneous: the palimpsest reifies and aids the understanding of current ideas and concepts; at the same time, those ideas enable a reinscription of the palimpsest that sophisticates our understanding of its complex structure and logic.

2005-09-01T00:00:00Z Dillon, Sarah Joanne In 1845, Thomas De Quincey inaugurated the substantive concept of 'the palimpsest'. Since then, this concept has frequently occurred in creative, critical and theoretical texts across the fields of literature, philosophy and cultural studies. This article brings together some of those diverse texts in order to draw attention to how the palimpsest is reinscribed in and by a range of contemporary critical discourses, including deconstruction, psychoanalysis, postcolonial theory, feminism and queer theory. Moreover, the palimpsest is crucial to these discourses' rethinking of such key contemporary issues as the subject, time, history, culture, gender and sexuality, and the processes of reading and writing themselves. The movement of elucidation here is reciprocal and simultaneous: the palimpsest reifies and aids the understanding of current ideas and concepts; at the same time, those ideas enable a reinscription of the palimpsest that sophisticates our understanding of its complex structure and logic. Dillon, Sarah Joanne http://hdl.handle.net/10023/3240 2012-12-12T12:18:49Z 2007-01-01T00:00:00Z 2007-01-01T00:00:00Z Dillon, Sarah Joanne Dillon, Sarah Joanne http://hdl.handle.net/10023/3239 2013-05-12T02:06:35Z 2011-03-10T00:00:00Z

Abstract: David Mitchell is one of Britain’s foremost contemporary writers who is only just becoming the subject of academic attention. Focusing on his first novel, Ghostwritten (1999), this essay argues that the science of complexity provides a language with which to account for the novel’s complex interconnecting structure. The novel is defined as an autopoietic system according to the theories of Maturana and Varela and its engagement with the issues of causality and time explored in relation to the work of Ilya Prigogine. The paper concludes that Ghostwritten is a complex narrative system that responds to the intimate connection between the macroscopic and the microscopic in the contemporary world.

2011-03-10T00:00:00Z Dillon, Sarah Joanne David Mitchell is one of Britain’s foremost contemporary writers who is only just becoming the subject of academic attention. Focusing on his first novel, Ghostwritten (1999), this essay argues that the science of complexity provides a language with which to account for the novel’s complex interconnecting structure. The novel is defined as an autopoietic system according to the theories of Maturana and Varela and its engagement with the issues of causality and time explored in relation to the work of Ilya Prigogine. The paper concludes that Ghostwritten is a complex narrative system that responds to the intimate connection between the macroscopic and the microscopic in the contemporary world. Dillon, Sarah Joanne http://hdl.handle.net/10023/3236 2012-12-12T12:18:48Z 2006-01-01T00:00:00Z

Abstract: Written on Derrida's "'Le Parjure,' Perhaps: Storytelling and Lying," this essay takes the concept of the anacoluthon from Derrida's text (as lie has done from J. Hillis Miller, as he did from Proust) and-commenting on the figure of the woman in this male lineage-further invents the concept of the anacoluthon by demonstrating]low its formal linguistic definition provides a model for the event of reading and writing of thinking-that Derrida so admires in Hillis Miller's work and practices in his own. By employing this same reading practice in its own thinking, this essay does not respond to Derrida's death in mourning, nor in thinking about mourning, but in the memory of thought. Produced out of Derrida's work, the essay remains faithful to him only by simultaneously being faithful and unfaithful, thereby enacting the agrammaticality of following represented in and by the anacoluthon.

2006-01-01T00:00:00Z Dillon, Sarah Joanne Written on Derrida's "'Le Parjure,' Perhaps: Storytelling and Lying," this essay takes the concept of the anacoluthon from Derrida's text (as lie has done from J. Hillis Miller, as he did from Proust) and-commenting on the figure of the woman in this male lineage-further invents the concept of the anacoluthon by demonstrating]low its formal linguistic definition provides a model for the event of reading and writing of thinking-that Derrida so admires in Hillis Miller's work and practices in his own. By employing this same reading practice in its own thinking, this essay does not respond to Derrida's death in mourning, nor in thinking about mourning, but in the memory of thought. Produced out of Derrida's work, the essay remains faithful to him only by simultaneously being faithful and unfaithful, thereby enacting the agrammaticality of following represented in and by the anacoluthon. Burns, Lorna Margaret http://hdl.handle.net/10023/3065 2012-12-12T13:31:54Z 2008-01-01T00:00:00Z 2008-01-01T00:00:00Z Burns, Lorna Margaret Burns, Lorna Margaret http://hdl.handle.net/10023/3064 2012-12-12T13:31:53Z 2010-03-01T00:00:00Z

Abstract: Critical responses to Wide Sargasso Sea have seized upon Rhys's novel as an exemplary model of writing back. Looking beyond the actual repetitions which recall Brontë’s text, I explore Rhys's novel as an expression of virtual difference and becomings that exemplify Deleuze's three syntheses of time. Elaborating the processes of becoming that Deleuze's third synthesis depicts, Antoinette's fate emerges not as a violence against an original identity. Rather, what the reader witnesses is a series of becomings or masks, some of which are validated, some of which are not, and it is in the rejection of certain masks, forcing Antoinette to become-Bertha, that the greatest violence lies.

2010-03-01T00:00:00Z Burns, Lorna Margaret Critical responses to Wide Sargasso Sea have seized upon Rhys's novel as an exemplary model of writing back. Looking beyond the actual repetitions which recall Brontë’s text, I explore Rhys's novel as an expression of virtual difference and becomings that exemplify Deleuze's three syntheses of time. Elaborating the processes of becoming that Deleuze's third synthesis depicts, Antoinette's fate emerges not as a violence against an original identity. Rather, what the reader witnesses is a series of becomings or masks, some of which are validated, some of which are not, and it is in the rejection of certain masks, forcing Antoinette to become-Bertha, that the greatest violence lies. Rhodes, Neil http://hdl.handle.net/10023/2590 2013-03-24T04:03:47Z 2013-01-01T00:00:00Z

Abstract: Marlowe's combination of lyric violence with a spirit of irony and scepticism has always seemed somewhat paradoxical, but we may find an explanation for it in his debt to Greek. Greek language learning developed in England from the early 1500s onwards and was particularly strong at Cambridge under Sir John Cheke in the 1540s, when many of the teachers of the future generation of Elizabethan writers were trained. In the case of Marlowe, what Joseph Hall was to label ‘pure iambics’ can be seen to have Greek origins, and the plays in which these are first deployed (the two parts of Tamburlaine) almost certainly take Xenophon's Cyrpopaiedia as one of their models. But the ironic Marlowe is also evident in Tamburlaine, and the model here is not Xenophon but Lucian, whom Gabriel Harvey records as being a vogue author with Cambridge students in 1580, the year that Marlowe matriculated. Lucian also impacts on Doctor Faustus, and this becomes more evident if we read the famous line on Helen of Troy from the Dialogues of the Dead in the context of another passage from ‘The Judgement of the Goddesses’ from Dialogues of the Gods.

2013-01-01T00:00:00Z Rhodes, Neil Marlowe's combination of lyric violence with a spirit of irony and scepticism has always seemed somewhat paradoxical, but we may find an explanation for it in his debt to Greek. Greek language learning developed in England from the early 1500s onwards and was particularly strong at Cambridge under Sir John Cheke in the 1540s, when many of the teachers of the future generation of Elizabethan writers were trained. In the case of Marlowe, what Joseph Hall was to label ‘pure iambics’ can be seen to have Greek origins, and the plays in which these are first deployed (the two parts of Tamburlaine) almost certainly take Xenophon's Cyrpopaiedia as one of their models. But the ironic Marlowe is also evident in Tamburlaine, and the model here is not Xenophon but Lucian, whom Gabriel Harvey records as being a vogue author with Cambridge students in 1580, the year that Marlowe matriculated. Lucian also impacts on Doctor Faustus, and this becomes more evident if we read the famous line on Helen of Troy from the Dialogues of the Dead in the context of another passage from ‘The Judgement of the Goddesses’ from Dialogues of the Gods. Davis, Alexander Lee http://hdl.handle.net/10023/2574 2013-05-12T04:05:30Z 2011-05-01T00:00:00Z 2011-05-01T00:00:00Z Davis, Alexander Lee Jones, Chris http://hdl.handle.net/10023/2285 2013-05-12T04:10:53Z 2010-01-01T00:00:00Z

Abstract: This article examines a number of allusions to Old English, especially to the poem The Wanderer, in John Haynes’s award winning poem Letter to Patience (2006). A broad historical contextualisation of the use of Anglo-Saxon in modern poetry is offered first, against which Haynes’s specific poetic Anglo-Saxonism is then analysed in detail. Consideration is given to the sources – editions and translations – that Haynes used, and a sustained close reading of sections of his poem is offered in the light of this source study. The representation of English as an instrument of imperialism is discussed and juxtaposed with the use and status of early English to offer a long historical view of the politics of the vernacular. It is argued that Haynes’s poem, set partly in Nigeria, represents a new departure in the use it finds for Old English poetry, in effect constituting a kind of ‘postcolonial Anglo-Saxonism’.

2010-01-01T00:00:00Z Jones, Chris This article examines a number of allusions to Old English, especially to the poem The Wanderer, in John Haynes’s award winning poem Letter to Patience (2006). A broad historical contextualisation of the use of Anglo-Saxon in modern poetry is offered first, against which Haynes’s specific poetic Anglo-Saxonism is then analysed in detail. Consideration is given to the sources – editions and translations – that Haynes used, and a sustained close reading of sections of his poem is offered in the light of this source study. The representation of English as an instrument of imperialism is discussed and juxtaposed with the use and status of early English to offer a long historical view of the politics of the vernacular. It is argued that Haynes’s poem, set partly in Nigeria, represents a new departure in the use it finds for Old English poetry, in effect constituting a kind of ‘postcolonial Anglo-Saxonism’. Jones, Chris http://hdl.handle.net/10023/2041 2013-05-12T04:03:31Z 2010-05-04T00:00:00Z

Abstract: This article essays the first survey of nineteenth-century poetry that imitates, alludes to, or draws on, theories about Anglo-Saxon language and/or literature. Criticism has so far overlooked such a field as forming a distinct body of literature with shared preoccupations and influences, although some previous attention has been paid to the Anglo-Saxonism of individual poets or texts. This essay, then, provides the first scoping exercise of the extent and limits of a field one could term nineteenth-century Anglo-Saxonist poetry. This corpus is briefly contextualized within the wider field of Anglo-Saxonist literature, itself an important sub-genre of medievalism and medievalist literature. A possible fourfold typology is offered as a framework within which further study might be continued. Some consideration is briefly paid to the use of Anglo-Saxon in the poetry of William Wordsworth, Walter Scott, Alfred Tennyson, Lewis Carroll, William Barnes, William Morris, and Gerard Manley Hopkins. The importance of antiquarianism and philology is emphasized, with passing reference made to writers such as Sharon Turner, George Marsh, and to the essays of Ralph Waldo Emerson. The essay addresses a neglected topic in the broader field of the reception of the Middle Ages, and in particular the recovery and reception of Anglo-Saxon, or Old English language and poetry. The essay concludes by suggesting that new narrative models of literary history made be required to accommodate the concept of ‘nineteenth-century Anglo-Saxon poetry’.

2010-05-04T00:00:00Z Jones, Chris This article essays the first survey of nineteenth-century poetry that imitates, alludes to, or draws on, theories about Anglo-Saxon language and/or literature. Criticism has so far overlooked such a field as forming a distinct body of literature with shared preoccupations and influences, although some previous attention has been paid to the Anglo-Saxonism of individual poets or texts. This essay, then, provides the first scoping exercise of the extent and limits of a field one could term nineteenth-century Anglo-Saxonist poetry. This corpus is briefly contextualized within the wider field of Anglo-Saxonist literature, itself an important sub-genre of medievalism and medievalist literature. A possible fourfold typology is offered as a framework within which further study might be continued. Some consideration is briefly paid to the use of Anglo-Saxon in the poetry of William Wordsworth, Walter Scott, Alfred Tennyson, Lewis Carroll, William Barnes, William Morris, and Gerard Manley Hopkins. The importance of antiquarianism and philology is emphasized, with passing reference made to writers such as Sharon Turner, George Marsh, and to the essays of Ralph Waldo Emerson. The essay addresses a neglected topic in the broader field of the reception of the Middle Ages, and in particular the recovery and reception of Anglo-Saxon, or Old English language and poetry. The essay concludes by suggesting that new narrative models of literary history made be required to accommodate the concept of ‘nineteenth-century Anglo-Saxon poetry’. Jones, Chris http://hdl.handle.net/10023/2040 2012-12-12T13:06:00Z 2010-11-05T00:00:00Z

Abstract: This article begins by noting that the narrative coherence of literary history as a genre, and the inclusions and exclusions that it is forced to make, depend on the often unacknowledged metaphors that attend its practice. Literary history which is conceived as an unbroken continuity (‘the living stream of English’) has found the incorporation of Old English (also called Anglo-Saxon) to be problematic and an issue of contention. After surveying the kind of arguments that are made about the place of Old English as being within or without English literary tradition, this article notes that a vast body of twentieth and twenty-first century poetry, oblivious to those turf-wars, has concerned itself with Old English as a compositional resource. It is proposed that this poetry, a disparate and varied body of work, could be recognized as part of a cultural phenomenon: ‘The New Old English’. Academic research in this area is surveyed, from the 1970s to the present, noting that the rate of production and level of interest in New Old English has been rapidly escalating in the last decade. A range of poets and poems that display knowledge and use of Old English largely overlooked by criticism to date is then catalogued, with minimal critical discussion, in order to facilitate further investigation by other scholars. This essay argues that the widespread and large-scale reincorporation of an early phase of English poetic tradition, not in contiguous contact with contemporary writing for so many centuries, is such an unprecedented episode in the history of any vernacular that it challenges many of the metaphors through which we attempt to pattern texts into literary historical narrative. It is suggested that the weight of evidence in this area strongly suggests that in recent decades we have been living through 'The Anglo-Saxon Poetic Renaissance'.

2010-11-05T00:00:00Z Jones, Chris This article begins by noting that the narrative coherence of literary history as a genre, and the inclusions and exclusions that it is forced to make, depend on the often unacknowledged metaphors that attend its practice. Literary history which is conceived as an unbroken continuity (‘the living stream of English’) has found the incorporation of Old English (also called Anglo-Saxon) to be problematic and an issue of contention. After surveying the kind of arguments that are made about the place of Old English as being within or without English literary tradition, this article notes that a vast body of twentieth and twenty-first century poetry, oblivious to those turf-wars, has concerned itself with Old English as a compositional resource. It is proposed that this poetry, a disparate and varied body of work, could be recognized as part of a cultural phenomenon: ‘The New Old English’. Academic research in this area is surveyed, from the 1970s to the present, noting that the rate of production and level of interest in New Old English has been rapidly escalating in the last decade. A range of poets and poems that display knowledge and use of Old English largely overlooked by criticism to date is then catalogued, with minimal critical discussion, in order to facilitate further investigation by other scholars. This essay argues that the widespread and large-scale reincorporation of an early phase of English poetic tradition, not in contiguous contact with contemporary writing for so many centuries, is such an unprecedented episode in the history of any vernacular that it challenges many of the metaphors through which we attempt to pattern texts into literary historical narrative. It is suggested that the weight of evidence in this area strongly suggests that in recent decades we have been living through 'The Anglo-Saxon Poetic Renaissance'. Davis, Alexander Lee http://hdl.handle.net/10023/1852 2013-05-12T02:32:45Z 2010-01-01T00:00:00Z

Abstract: Our sense of the distinction between the "medieval" and the "early modern" is structured by two notions: that the early modern period is characterized by the death of a chivalric culture that is dominant in the medieval period; and that the early modern is distinguished from the medieval by its superior historical self-awareness. This essay reassesses these themes through a reading of Shakespeare and Fletcher's The Two Noble Kinsmen (1634). This is a play of knighthood and chivalric spectacle, adapted from Chaucer's Knight's Tale, which brings Chaucer on stage in the play's prologue. Reading the play through a tradition of "Theban" narratives that proliferated from antiquity through the Middle Ages shows that the representation of chivalric culture in The Two Noble Kinsmen constructs a vision of the past very different from how modern accounts distinguish between medieval and early modern cultures.

2010-01-01T00:00:00Z Davis, Alexander Lee Our sense of the distinction between the "medieval" and the "early modern" is structured by two notions: that the early modern period is characterized by the death of a chivalric culture that is dominant in the medieval period; and that the early modern is distinguished from the medieval by its superior historical self-awareness. This essay reassesses these themes through a reading of Shakespeare and Fletcher's The Two Noble Kinsmen (1634). This is a play of knighthood and chivalric spectacle, adapted from Chaucer's Knight's Tale, which brings Chaucer on stage in the play's prologue. Reading the play through a tradition of "Theban" narratives that proliferated from antiquity through the Middle Ages shows that the representation of chivalric culture in The Two Noble Kinsmen constructs a vision of the past very different from how modern accounts distinguish between medieval and early modern cultures. Jones, Chris Rhodes, Neil http://hdl.handle.net/10023/1802 2012-12-12T13:06:05Z 2009-10-01T00:00:00Z

Abstract: Sound Effects traces the history of the relationship between oral conditions and aural effect in English literature from its beginnings in the Anglo-Saxon period through to the twenty-first century. Few collections nowadays, other than textbook histories, would attempt a survey of their field from the early middle ages to the present day, and it is not our intention here to offer a continuous narrative. But despite the many centuries covered by this collection, the reader will find that certain themes recur in different contexts and that the individual essays speak to each other, often over long distances of time. It ends where it might have begun, with Homer, though in modern English form. The effect of this pattern is to create an “envelope” structure in which the ancient oral forms of Greek and Anglo-Saxon verse reappear as contexts for understanding how these forms survive and how sound works in the poetry of the modern world. The scope of the volume is also determined by its subject, since we are concerned with tradition as well as with the oral and aural. In particular, we are concerned with how literary production and reception respond to the different waves of media evolution from oral to written, manuscript to print (and the theater), and the later development of machine technology. We are not specifically concerned with the computer and the Internet, though they are an unstated presence behind the project as a whole. A subsidiary theme is the way in which sound, understood in both oral and aural terms, provides the agency through which high and low, elite and popular cultures are brought into conjunction throughout English literature.

2009-10-01T00:00:00Z Jones, Chris Rhodes, Neil Sound Effects traces the history of the relationship between oral conditions and aural effect in English literature from its beginnings in the Anglo-Saxon period through to the twenty-first century. Few collections nowadays, other than textbook histories, would attempt a survey of their field from the early middle ages to the present day, and it is not our intention here to offer a continuous narrative. But despite the many centuries covered by this collection, the reader will find that certain themes recur in different contexts and that the individual essays speak to each other, often over long distances of time. It ends where it might have begun, with Homer, though in modern English form. The effect of this pattern is to create an “envelope” structure in which the ancient oral forms of Greek and Anglo-Saxon verse reappear as contexts for understanding how these forms survive and how sound works in the poetry of the modern world. The scope of the volume is also determined by its subject, since we are concerned with tradition as well as with the oral and aural. In particular, we are concerned with how literary production and reception respond to the different waves of media evolution from oral to written, manuscript to print (and the theater), and the later development of machine technology. We are not specifically concerned with the computer and the Internet, though they are an unstated presence behind the project as a whole. A subsidiary theme is the way in which sound, understood in both oral and aural terms, provides the agency through which high and low, elite and popular cultures are brought into conjunction throughout English literature. Jones, Chris http://hdl.handle.net/10023/1801 2012-12-12T13:06:03Z 2009-10-01T00:00:00Z

Abstract: This essay examines the representation or staging of oral performance and poetic composition within Beowulf, in order to argue that poem thematizes and mythologizes its own origins, and is as much interested in recovering the sounds of oral performances that pre-date its own manuscript inscription as modern Anglo-Saxon scholarship has been. The second half of the essay considers the recovery and reimagining of an Anglo-Saxon “soundscape” in the work of two twentieth-century poets, W. S. Graham and Edwin Morgan. The invocation of this “Saxonesque” patterning of sound invokes or triggers a historically constituted set of associations with the whole body of Old English poetry; that is, an allusion to a corpus, rather than to a specific text, is made through sound patterning. Description: Additional multimedia to accompany this article is available from http://journal.oraltradition.org/issues/24ii/jones

2009-10-01T00:00:00Z Jones, Chris This essay examines the representation or staging of oral performance and poetic composition within Beowulf, in order to argue that poem thematizes and mythologizes its own origins, and is as much interested in recovering the sounds of oral performances that pre-date its own manuscript inscription as modern Anglo-Saxon scholarship has been. The second half of the essay considers the recovery and reimagining of an Anglo-Saxon “soundscape” in the work of two twentieth-century poets, W. S. Graham and Edwin Morgan. The invocation of this “Saxonesque” patterning of sound invokes or triggers a historically constituted set of associations with the whole body of Old English poetry; that is, an allusion to a corpus, rather than to a specific text, is made through sound patterning. Hutson, Lorna Margaret http://hdl.handle.net/10023/1620 2013-05-12T01:34:26Z 2005-12-01T00:00:00Z

Abstract: Michel Foucault's analysis of penal torture as part of a regime of truth production continues to be routinely applied to the interpretation of English Renaissance drama. This paper argues that such an application misleadingly overlooks the lay participation that was characteristic of English criminal justice. It goes on to explore the implications of the epistemological differences between continental inquisitorial models of trial and the jury trial as it developed in sixteenth-century England, arguing that rhetorical and political differences between these two models are dramatized in the unfolding action of Shakespeare's Titus Andronicus.

2005-12-01T00:00:00Z Hutson, Lorna Margaret Michel Foucault's analysis of penal torture as part of a regime of truth production continues to be routinely applied to the interpretation of English Renaissance drama. This paper argues that such an application misleadingly overlooks the lay participation that was characteristic of English criminal justice. It goes on to explore the implications of the epistemological differences between continental inquisitorial models of trial and the jury trial as it developed in sixteenth-century England, arguing that rhetorical and political differences between these two models are dramatized in the unfolding action of Shakespeare's Titus Andronicus. Jones, Chris http://hdl.handle.net/10023/647 2010-12-07T15:32:57Z 2002-01-01T00:00:00Z

Abstract: This article argues that Book I of Auden's 1931 work 'The Orators' does not merely allude to poems in the Old English Exeter Book as source material, but that it participates in a medievalist model of textual production. Auden's poem performs acts analogous to those such as 'compliatio' and 'ordinatio', and deliberately misrepresents and distorts its source texts even as it alludes to them in order to make a point about the transmission and corruption of canonical texts. In addition, some source material is identified here for the first time.

2002-01-01T00:00:00Z Jones, Chris This article argues that Book I of Auden's 1931 work 'The Orators' does not merely allude to poems in the Old English Exeter Book as source material, but that it participates in a medievalist model of textual production. Auden's poem performs acts analogous to those such as 'compliatio' and 'ordinatio', and deliberately misrepresents and distorts its source texts even as it alludes to them in order to make a point about the transmission and corruption of canonical texts. In addition, some source material is identified here for the first time. Jones, Chris http://hdl.handle.net/10023/646 2011-02-23T16:10:07Z 2001-01-01T00:00:00Z

Abstract: This article provides an explanation and context for Pound's quotation from the Old English poem 'The Wanderer' at the start of 'Canto 27' and discusses the previously unacknowledged stylistic and rhythmical debts to Old English in 'Canto 28'. The article argues that Pound sees this 'saxonist' style specifically as elegiac and deploys it accordingly.

2001-01-01T00:00:00Z Jones, Chris This article provides an explanation and context for Pound's quotation from the Old English poem 'The Wanderer' at the start of 'Canto 27' and discusses the previously unacknowledged stylistic and rhythmical debts to Old English in 'Canto 28'. The article argues that Pound sees this 'saxonist' style specifically as elegiac and deploys it accordingly. Jones, Chris http://hdl.handle.net/10023/645 2010-12-07T15:31:17Z 2005-01-01T00:00:00Z

Abstract: This article re-examines the various processes of textual transmission for Keats's 'La Belle Dame sans Merci', which have resulted in two 'competing' texts of the poem. It argues that a medieval model of textual production offers a strategy for dealing with this circumstance, and that, approached in this way, there is no need to resolve the textual 'problem' that the poem poses.

2005-01-01T00:00:00Z Jones, Chris This article re-examines the various processes of textual transmission for Keats's 'La Belle Dame sans Merci', which have resulted in two 'competing' texts of the poem. It argues that a medieval model of textual production offers a strategy for dealing with this circumstance, and that, approached in this way, there is no need to resolve the textual 'problem' that the poem poses.