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Susan M. Johns

, where she ‘worthily reformed her life’ and repented of her ‘mortal sin of luxury’.15 On the presence of women at the battle of Ascalon, he states that women remained off the battlefield with the noncombatants and that they are ‘unwarlike by 14 power and portrayal nature’.16 The emotional weakness of women is made gender-specific in Orderic’s discussion of the expedition and aftermath of the defeat and capture of Mark Bohemond when campaigning against the Turks. He states that Tancred, the commander in chief, ‘did not give way like a woman to vain tears and laments

in Noblewomen, aristocracy and power in the twelfth-century Anglo-Norman realm
Christopher Abram

antagonist to Beowulf and the men of Heorot, which is the name given to the Danes’ newly built hall, which Grendel attacks murderously. The new title can also conjure a sense of place that might be hermeneutically productive in reading the poem, leading us on a journey into a particular type of landscape – a wetland environment in which Grendel is intimately embedded. The Old English poem Maxims II states that ‘þyrs sceal on fenne wunian’ (a þyrs shall [or must] live in a fen), as if this were something everybody knew

in Dating Beowulf
Enigmas, agency and assemblage
James Paz

the ‘Wayland’ casket and suddenly seems a lot less ‘Christian’. And yet to get too caught up in either the left scene or the right one obscures the obvious fact that we must, in the first instance, take the entirety of the front panel in at once: Wayland, Valkyrie, Magi, Mary, Christ, runes, riddle, lock and all. Does this mean that the front panel is united? I  do not believe so. The front of the Franks Casket is playful in a contradictory, deceitful way. It is aware of its role as the ‘key’ to a container. As such, the carved figures stare out at us and draw us in

in Nonhuman voices in Anglo-Saxon literature and material culture
Fragility, brokenness and failure
James Paz

dreamer becomes a voice-​bearer (OE reordberend), speech is not the means by which human subjects master objects in this poem. Rather, it is voice that links the human and nonhuman participants in this assembly together. Speech is like the connective tissue that binds one thing to another. Thus, the dreamer does not solve the riddle by speaking it but becomes part of it, does not name the ‘Cross’ with his voice but is united with the multivalent treow-​beam-​gealga-​rod as part of an assemblage. The second part of the chapter will explore the connections, and tensions

in Nonhuman voices in Anglo-Saxon literature and material culture
Le Bone Florence of Rome and bourgeois self-making
Felicity Riddy

‘honourable’ are part of a public discourse of female respectability in the fifteenth century. The family is represented as united around this issue: the sexual conduct and good name of its female members. And in this MUP_McDonald_10_Chap9 197 11/18/03, 17:06 198 Felicity Riddy strongly ideological representation, it is the daughter who is made to speak these words: her aspirations are represented as not only hers but also her family’s and those of her social group. The hope is, perhaps, that she will grow up to be like the ‘honesta mulier’ (‘honourable woman’), Mary

in Pulp fictions of medieval England
Open Access (free)
John Lydgate’s ‘Soteltes for the coronation banquet of Henry VI’
Heather Blatt

. Forensic materiality contrasts with ‘formal’ materialities in assessing digital media, according to Matthew Kirschenbaum. Forensic materialities are those physical properties of a media’s form, familiar to medieval studies as the ‘manuscript matrix’ to which New Philology directed such attention, and the sensation of the parchment page that Camille discusses. In contrast, formal materiality emphasizes the ‘imposition’ of multiple states on an object, which Kirschenbaum applies in particular to data or digital objects.5 For example, the use of a text editor to delete

in Participatory reading in late-medieval England