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Greeks and Saracens inGuy of Warwick
Rebecca Wilcox

sovereignty at home through one-toone combat with Colbrond, champion of the Danish invaders. In the final scenes of the romance, Guy retires from public life and dies a hermit. The structure of the romance, in two parallel cycles (a feature particularly marked in the early Auchinleck manuscript),5 emphasises the centrality of the two long Eastern episodes.6 This centrality is underlined by the importance of these episodes for Guy’s development as a romance hero, for in each case he wins both military and moral battles in the East that could not have occurred elsewhere. In

in Pulp fictions of medieval England
Thinking, feeling, making
James Paz

. 37 As we have seen, Beowulf displays a similar dependency on non-human materials in order to live up to the ideals of heroic culture. When his swords suddenly break or fail, the self-sovereignty of the warrior's body may be called into question. Such incidents create a disjunction between the heroic human subject and the non-human object, which the narrator blames for its misbehaviour, diverting our attention away from any potential flaws in the hero. The physically impaired craftsman, on the other hand, finds a way to conjoin with objects

in Dating Beowulf
Animal language and the return of loss in Beowulf
Mo Pareles

. 6 See, for instance, in English and French medieval studies alone, a flurry of monographs and essay collections since 2010: inter alia , Peggy McCracken, In the skin of a beast: sovereignty and animality in medieval France (Chicago: University of Chicago Press, 2017); Alice M. Choyke and Gerhard Jaritz (eds), Animaltown: beasts in medieval urban space (Oxford: BAR Publishing, 2017); John Allan Mitchell, Becoming human: the matter of the medieval child (Minneapolis, MN: University of Minnesota Press, 2014

in Dating Beowulf