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Creative legacies
Melanie Giles

the ambivalent provision of the moss, as he imagines other-worldly beings seeking out its ‘watercress and carrion’. From the start, the bog is both cleansing and fetid, life-giving and life-taking (Finn 2006 ). ‘The Tollund Man’ continues to evoke this ambiguous power: winter seeds and germination, set against hanging and the necessary demand of sacrifice. ‘Nerthus’ conjures an ash bog figure and its enduring presence, but even within this short poem a subtle sexuality is felt, in the ‘long grains gathered to a split’; an eroticisation of archaeological remains

in Bog bodies
Duncan Sayer

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

in Early Anglo-Saxon cemeteries
Jes Wienberg

how to attain knowledge. The past is narrated, remembered, preserved, excavated, reconstructed, and brought to life as both an alluring and essential source of knowledge. The will to knowledge runs as an explicit or implicit theme though numerous examples: Herodotus, Ibn Khaldûn, Leopold Ranke, Friedrich Nietzsche, Marc Bloch, David Thomson, Eric Hobsbawm, and even Michel Foucault – they all pursued knowledge, and they all assumed that knowledge could be attained. In the introduction to Histoire de la sexualité ( The History of Sexuality ), Foucault thus linked

in Heritopia