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Eadwacer . Auden engages the older poem through an allusive kind of translation, one that preserves the difficulties and ambiguities of the original rather than smoothing them out into homogeneous, straightforward, contemporary English verse. Auden's poem, according to Remein, is an act of ‘treachery’ that gleefully inverts the ‘translation as betrayal’ formula, in part through a sort of desire for the older poem that results in ‘a queer mixing of times and languages … a mixing of sexualities
Ibid. 48 Carolyn Dinshaw, Getting medieval: sexualities and communities, pre- and postmodern (Durham, NC: Duke University Press, 1999), p. 46. 49 Elizabeth Freeman, Time binds: queer temporalities, queer histories (Durham, NC: Duke University Press, 2010), p. 95
recognise particular expensive shoes. Shoes and other apparel have multiple qualities and exist in the social world. Importantly, shoes ‘need to be understood as [part of] an endlessly incomplete, embodied process’ (Hockey et al. , 2013 : 5, 11). Objects like these are entangled with multiple forms of embodied identity; including life course, gender, sex and sexuality, materially grounded and socially differentiated, highlighting inequality which is manifested in gradations of knowledge or group membership. This fluidity of materiality mirrors Tim Ingold’s ( 2010
medieval genders and sexualities in Europe: construction, transformation, and subversion, 600–1530 (Woodbridge, UK and Burlington, VT: Ashgate, 2011), 161–72, at 163–4. See Appendix C for an index of the wall texts’ first and last lines. 16 For more details about the verses situated in each of these spaces, see Appendix C. 17 This passage’s evocation of medieval mnemonic practices suggests a significant relationship between the wall texts and the embodied, Reading architecturally 161 mobile reading depicted here. For more on locationally situated medieval mnemonic