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Author: James Paz

Anglo-Saxon ‘things’ could talk. Nonhuman voices leap out from the Exeter Book Riddles, telling us how they were made or how they behave. In The Husband’s Message, runic letters are borne and a first-person speech is delivered by some kind of wooden artefact. Readers of The Dream of the Rood will come across a tree possessing the voice of a dreaming human in order to talk about its own history as a gallows and a rood. The Franks Casket is a box of bone that alludes to its former fate as a whale that swam aground onto the shingle, and the Ruthwell monument is a stone column that speaks as if it were living wood, or a wounded body.

This book uncovers the voice and agency that these nonhuman things have across Anglo-Saxon literature and material culture. It makes a new contribution to ‘thing theory’ and rethinks conventional divisions between animate human subjects and inanimate nonhuman objects in the early Middle Ages. Anglo-Saxon writers and craftsmen describe artefacts and animals through riddling forms or enigmatic language, balancing an attempt to speak and listen to things with an understanding that these nonhumans often elude, defy and withdraw from us. The active role that things have in the early medieval world is also linked to the Germanic origins of the word, where a þing is a kind of assembly, with the ability to draw together other elements, creating assemblages in which human and nonhuman forces combine. Anglo-Saxon things teach us to rethink the concept of voice as a quality that is not simply imposed upon nonhumans but which inheres in their ways of existing and being in the world; they teach us to rethink the concept of agency as arising from within groupings of diverse elements, rather than always emerging from human actors alone.

Open Access (free)
On Anglo-Saxon things
James Paz

afterwards, the twisted pattern of fate; that is a wondrous thing to speak.] (Exeter Book Riddle 39)2 Anglo-​Saxon things and theory Things could talk in Anglo-​Saxon literature and material culture. Many of these Anglo-​Saxon things are still with us today and are still talkative. Nonhuman voices leap out from the Exeter Book riddles, telling us where they came from, how they were made, how they do or do not act. In The Husband’s Message, runic letters are borne and a first-​person speech is delivered by some kind of wooden artefact. Readers of The Dream of the Rood in

in Nonhuman voices in Anglo-Saxon literature and material culture
Open Access (free)
Design and material culture in Soviet Russia, 1960s–80s
Author: Yulia Karpova

The major part of this book project was funded by the European Union’s Horizon 2020 research and innovation programme under the Marie Sklodowska-Curie grant agreement No. 700913.

This book is about two distinct but related professional cultures in late Soviet Russia that were concerned with material objects: industrial design and decorative art. The Russian avant-garde of the 1920s is broadly recognised to have been Russia’s first truly original contribution to world culture. In contrast, Soviet design of the post-war period is often dismissed as hackwork and plagiarism that resulted in a shabby world of commodities. This book identifies the second historical attempt at creating a powerful alternative to capitalist commodities in the Cold War era. It offers a new perspective on the history of Soviet material culture by focusing on the notion of the ‘comradely object’ as an agent of progressive social relations that state-sponsored Soviet design inherited from the avant-garde. It introduces a shared history of domestic objects, handmade as well as machine-made, mass-produced as well as unique, utilitarian as well as challenging the conventional notion of utility. Situated at the intersection of intellectual history, social history and material culture studies, this book elucidates the complexities and contradictions of Soviet design that echoed international tendencies of the late twentieth century. The book is addressed to design historians, art historians, scholars of material culture, historians of Russia and the USSR, as well as museum and gallery curators, artists and designers, and the broader public interested in modern aesthetics, art and design, and/or the legacy of socialist regimes.

James Paz

, relics and other material things associated with the cult of St Cuthbert reshaped ‘universal’ Christianity within a distinctly Northumbrian environment in the seventh and early eighth centuries. St Cuthbert has been identified as a post-​Whitby figure of reconciliation, preserving the best of the ‘Celtic’ ascetic tradition while actively promoting a new order more in line with the European mainstream in Northumbria.1 In 140 140 Nonhuman voices in Anglo-Saxon literature and material culture light of this view, I will consider how the saint –​both as text, in the

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

in any congregation or meshwork there is a ‘friction and violence between parts’ so that assemblages are ‘living, throbbing confederations that are able to function despite the persistent presence of energies that confound them from within’.1 As such, when looking at how things are assembled in a poem like The Dream, we need to attend not only to the way in which the bits 176 176 Nonhuman voices in Anglo-Saxon literature and material culture and pieces come together but to how they suffer wounding, damage, breakage, but then seek new encounters to creatively

in Nonhuman voices in Anglo-Saxon literature and material culture
James Paz

acknowledge the flux and fluidity of things is to acknowledge that they endure over different temporalities to human beings, sometimes radically different timescales:  from the ever-​transforming raincloud to the gradual decay of a stone wall.4 As a literary form built upon metaphor, the riddle is perfectly placed to show how all things shift shape (from ice to water, fire to 60 60 Nonhuman voices in Anglo-Saxon literature and material culture smoke, honey to mead, ox to leather, sheep to book, ore to gold) as time unfolds. In this chapter, I will listen to the voices

in Nonhuman voices in Anglo-Saxon literature and material culture
Enigmas, agency and assemblage
James Paz

permission to use the figure must be obtained from the copyright holder 100 100 Nonhuman voices in Anglo-Saxon literature and material culture these as Christian or pagan, Roman or Germanic, and so have seen the artefact as either a hoard box or reliquary, belonging to a warlord or an ecclesiastical context, the thing itself resists being fixed in this way. That is, it does not allow us to impose our manmade categories onto it, but instead makes us rethink how we categorise ourselves. It resists human mastery through continuous movements:  back and forth

in Nonhuman voices in Anglo-Saxon literature and material culture
Open Access (free)
Old things with new things to say
James Paz

to be, or in some sense still are, animals) in the medieval world. There is also a risk inherent in this sort of work; a risk that, once stretched to breaking point, these theoretical concepts may no longer work for us as they once did. In the face of such failure, how 218 218 Nonhuman voices in Anglo-Saxon literature and material culture should critics and scholars respond? Can we adopt new approaches? I have suggested throughout this book that the time we take to get to know things –​and the time taken by things to reveal themselves to us –​is of central

in Nonhuman voices in Anglo-Saxon literature and material culture
Unreadable things in Beowulf
James Paz

them. Unreadable things can disrupt a longstanding human reliance upon legibility, altering the way we interpret that which has come before us. 36 36 Nonhuman voices in Anglo-Saxon literature and material culture Killing the reader Readers of Beowulf do not really encounter Æschere (he is not singled out as a recognisable individual, nor is he named) until he is dead. In line 1251, there is this allusion to him:  ‘Sum sare angeald /​æfenræste’ [one paid sorely for his evening-​rest]. Here, Æschere is merely ‘a certain one’ among the retainers who has been chosen

in Nonhuman voices in Anglo-Saxon literature and material culture
Antonius C. G. M. Robben

Thousands of people died in Rotterdam during the Second World War in more than 300 German and Allied bombardments. Civil defence measures had been taken before the German invasion of the Netherlands in May 1940 and these efforts were intensified during the country’s occupation as Allied bombers attacked Rotterdam’s port, factories, dry docks and oil terminals. Residential neighbourhoods were also hit through imprecise targeting and by misfired flak grenades. Inadequate air raid shelters and people’s reluctance to enter them caused many casualties. The condition of the corpses and their post-mortem treatment was thus co-constituted by the relationship between the victims and their material circumstances. This article concludes that an understanding of the treatment of the dead after war, genocide and mass violence must pay systematic attention to the materiality of death because the condition, collection and handling of human remains is affected by the material means that impacted on the victims.

Human Remains and Violence: An Interdisciplinary Journal