Thursday, 15 September 2016

Class Recap: September 15, 2016

Old English Poetics and Heroic Poetry

Today we talked about Old English poetics, including the use of alliteration and the meter of the alliterative half-line and other stylistic features, like kennings, the beasts of battle motif, repetition and variation, epithets, allusiveness, and litotes. The second half of class included our discussion of Old English heroic poetry, including "The Battle of Brunanburh," "The Finnsburh Fragment," and "The Battle of Maldon." Next week, we start Beowulf.


Homework:


Readings in the Broadview Anthology:
  • Beowulf, lines 1-1049. Please use this translation, as translations vary widely. It is available online at the library here, if you do not have your book yet, but please get your book as soon as possible so we can all look at the same pages and line numbers.
Additional readings:

Please upload a reading response to the Dropbox labeled "Response 3 - September 20 or 22" before class on Tuesday or Thursday.


Weekly Writing Prompt - September 20:


Choose one of the following prompts and write 1-2 pages addressing it; please upload your response by class time on the day on which we are discussing those prompts. Please indicate which prompt you are answering, or if you are writing on another topic.

1) In his introduction to the poem, Roy Liuzza says, "Kingdoms and successions, alliances and truces, loyalties, and the tragically transient stability of heroic society are the poem's somber subtext, a theme traced less in the clashes of the battlefield than in the patterns of marriage and kin, in stories remembered and retold, in allusion and digression and pointed foreshadowing" (Liuzza 16). Considering the lines we are reading for Tuesday, can you see the poet addressing "the tragically transient stability of heroic society"? How does the poet portray that society? Through which patterns, stories, allusion, digression, or foreshadowing do you see this? Please refer to specific examples or quote specific lines to support your arguments.

2) The first monster that we encounter is Grendel. Monster theory says that monsters always mean something; the word comes from Latin "demonstrare," to show. Monsters embody cultural anxieties, fears, or even hopes or desires. What, then, do you think Grendel embodies or shows? Please refer to specific examples or quote specific lines to support your arguments.

3) Liuzza says that Beowulf "springs, quite precisely, from the intersection of myth and history" (Liuzza 19). How do you see these two elements--myth and history--intersecting, interacting, contradicting, etc., in the poem? Please refer to specific examples or quote specific lines to support your arguments.

4) How do you see paganism and Christianity present in the poem--interacting, contradicting, at odds, one layer over another? There are many ways to conceptualize this: how would you describe it? Please refer to specific examples or quote specific lines to support your arguments.

Other Notes:


  • I have not yet heard from those people doing the Article Precis assignment next week; please send me the article you've chosen ASAP and remember that you need to confirm it with me at least one week in advance.
  • View today's Powerpoint here.

Tuesday, 13 September 2016

Article Precis: September 13, 2016, by Jillian Heilborn

""Wulf and Eadwacer": The Adulterous Woman Reconsidered." 

Full Bibliographic citation:
Frese, Dolores Warwick. ""Wulf and Eadwacer": The Adulterous Woman Reconsidered." Notre Dame English Journal 15.1 (1983): 1-22. Web.
Download PDF of article

Read:
September 11, 2016 for British literature. I read through the chapter once and then went back, scanning and re-reading some portions to properly fill out this form.

About the author:
This is a chapter in the Notre Dame English Journal by Dolores Warwick Frese. She is a Professor Emerita at Notre Dame and has earned her BA, MTS, MA, and PhD. Her specialty is medieval literature (emphasis on Chaucer). She is currently studying Marie de France. Her recent publications include literary analysis of “The Wife’s Lament”. This information was found on the Notre Dame website: http://english.nd.edu/people/faculty/emeritus/frese/

About the author’s intentions:
The author wanted to convince readers that the poem “Wulf and Eadwacer” is not about an adulterous woman, but about a mother lamenting her son’s death. This makes sense for the author’s intellectual and educational background, because she has focused on medieval literature in her previous studies and books/articles.

Thesis:
“…if we can put aside a century and a half of assumed amorous passion—no easy task, to be sure—and listen to the utterance of a mother lamenting a lost son, then the content as well as form would seem to connect ‘Wulf and Eadwacer’ to the mainstream of grieving mothers in Anglo-Saxon poetry” (Frese, 5).

Type of literary study that it is:
I believe this is mainly a linguistic literary study, because it is arguing that the past interpretations/translations of the poem “Wulf and Eadwacer” are incorrect. It is also a historical literary study, because she uses historical context, artifacts, and literature to argue her point.

Structure of the argument:
The chapter is split into four sections. Section one includes other interpretations (the most popular) of the poem. She ends this section with her thesis, and begins her argument for the speaker in the poem being a mourning mother. Section two contains a more extended explanation of her interpretation of the poem. She references other Old English literature (Beowulf, Volsunga Saga’s Signy, Hildebrandslied, The Battle of Brunanburh, The Fortune’s of Men) and uses their themes to discuss how grieving mothers are presented and show that Wulf and Eadwacer is the same. Section three is used to discuss stones and artifacts from medieval Britain. Rök is one example. It is a stone with writing on it and references wolves on a battlefield as beings that take souls away. The wolf in the poem could refer to a son dying in battle. She then, again, refers to other old English poems with references to wolves and other myths/beliefs. The fourth section discusses the religious context of the poem: pagan past and Christina present. She believes “Eadwacer” is an epithet for a spiritual messenger or guide (possible an angel) that is watching over her and her dead son. She ends this section and her chapter with her translation of the poem.

Evidence used:
As mentioned above, she discusses a lot of other writings about this poem and other translations that she thinks are incorrect. She evens this out with even more evidence supporting what she believes is the true translation. This is made up mostly of literature and artifacts found in the same historical context as the poem. I think this evidence is used well. However, the author claims that women in the literature in this time are most concerned with their children. I would have liked to have heard about some that disproved this (a counter-argument) that she could have accepted but shown why her evidence is still stronger than those that believe this poem is about an adulterous woman.

Ideological orientation:
This author believes that most everyone who has ever interpreted “Wulf and Wadwacer” came to the incorrect conclusion. I think that this is a very bold thing to do. This made the article immediately interesting to me and I think gave her an interesting edge. The novelty of it really drove the shape of the chapter.

Strengths:
The evidence is strong and very logically presented to the reader. The most effective part was ending with her own translation of the poem. After reading her arguments and evidence, it is almost impossible to read the poem not from her point of view. It was a very powerful way to end, and it made my belief in her ideas stronger.

Weaknesses:
This was relatively organized, but at some points I got a little confused about what she wanted to convey to me at that point in the chapter. I think she could have been a little more concise and thoughtful in her organization of her arguments. That would have made her argument easier to follow and ultimately more powerful.

Contributions to the field:
This is a new way of looking at this important and famous work of literature. I think it is bold, valid, and an interesting thing to discuss.

Contributions to your reading:
I have read this poem previously in high school. It was never described to me in this way, instead I was told it is about a love triangle. It is really interesting to read it with this new idea in my head. I don’t think it really changes the themes; it still about longing, separation, love, and other really relatable human experiences. It has not changed my appreciation or emotional connection with the poem, instead it has broadened my view understanding of medieval literature. 

- Jillian Heilborn

Class Recap: September 13, 2016

Old English Elegy

Today we caught up from last week with a short lecture on the Anglo-Saxons, which addressed concerns that I saw in quizzes and exit tickets about people not quite understanding the background reading, and with discussion of the Dream of the Rood. Towards the end of class we moved on to discussing the elegy readings, particularly what an Old English elegy is and why that genre classification is complicated. 

On Thursday we will finish discussing the elegies and move on to heroic poetry; these two genres have many similarities and this will be a good place to get back on track with our schedule. My hope is that, by the time we start Beowulf next week, we will have a good foundation in Anglo-Saxon poetry and culture which we can then take into our discussions of Beowulf.

Homework


No reading in the Broadview anthology for next time. These are all available in the sidebar under "Required Additional Readings":
  • Background: "Germanic Legend and Heroic Lay" in the Fulk packet, pp. 193-194 (stop when they start talking about Beowulf) and pp. 216-224 (start when they start talking about non-Beowulf texts)
  • "The Battle of Maldon" and "The Battle of Brunanburh" in the "Old English" packet
  • "The Finnsburh Fragment" (external website, opens in a new tab)
For those of you who have not written a reading response yet, please upload a reading response to the Dropbox labeled "Response 2 - September 13 or 15" before class on Thursday. As we agreed during class, for this week you can write on Tuesday's readings for Thursday, if you want, because we're discussing both sets of texts on Thursday. In future weeks, you need to write on the texts assigned for that day.

Weekly Writing Prompt - September 15, 2016

Choose one of the prompts below. These prompts are more streamlined, with fewer possible questions; whichever you choose, please attempt to answer the full prompt, rather than focusing on only one aspect of it.

1) Discuss how, in "The Battle of Maldon," the poet juxtaposes the heroic ideals of the poem with the flight of the soldiers. Why does the poet do this? Whose side is he on? Please refer to specific lines and use evidence from the text to illustrate your points.

2) Choose one of the elegiac poems we read for Tuesday and one of the heroic poems we read for today. Compare and contrast. Does reading these two poems together change your reading of either of them? Please refer to specific lines and use evidence from the text to illustrate your points.

3) With reference to Fulk and Cain's "Germanic Legend and Heroic Lay," analyze how one of these poems meet the conventions of "the heroic ethos" of the Anglo-Saxons (Fulk and Cain, 193). What do all three of these poems and this ethos tell us about Anglo-Saxon society? Please refer to specific lines (from both the article and the poems) and use evidence from the text to illustrate your points.

4) Fulk and Cain discuss Deor in their chapter on heroic lay, not in their chapter on elegy. With reference to either the conventions of the elegy or of heroic poetry, make an argument about which genre Deor belongs to; or argue that it belongs to both. Please refer to specific lines from our readings and use evidence from the text to illustrate your points.

5) Fulk and Cain say that "The Battle of Brunanburh "is another poem at the periphery of heroic literature, simultaneously evoking and altering heroic conventions" (Fulk and Cain, 223). Describe how the poem "evokes" but also "alters" or does not otherwise meet "heroic conventions." Why might the poet have done this? Please refer to specific lines and use evidence from the text to illustrate your points.

Other Notes:
  • I have not yet heard from those people doing the Article Precis assignment next week; please send me the article you've chosen ASAP and remember that you need to confirm it with me at least one week in advance.
  • Please turn in a $5 copy card by Thursday, September 15.
  • View today's Powerpoint here.

Thursday, 8 September 2016

Class Recap: September 8, 2016

The Early Middle Ages and the Anglo-Saxons

Today we caught up from Tuesday, talking about canonicity and literary history and looking at a timeline of British literature. We also talked about "Cædmon's Hymn." Next time we will catch up with the Dream of the Rood and Alfred's "Preface" to Pastoral Care

Canonicity: What is "British literature?" Who decides this? Why do you know what you know about British Literature? What have you studied before? Why is it worth studying authors and works that are not usually included in classes like this? We talked about all of these questions, and why I try to include as many women authors as I can in a survey course like this. Unfortunately, it's hard to "canon-bust" in other ways for Brit Lit I, but towards the end of the semester, we will read some texts that look to other places and peoples in the world, including Shakespeare's The Tempest and Aphra Behn's Oroonoko. 


Homework


Readings from the Broadview Anthology:


  • Background: “The Exeter Book Elegies,” pp. 51-52.
  • All of the elegies (poems) on pages 52-57. 
Additional Readings:
  • Background: "Lyric Poems" in the Fulk packet, pp. 177-192
  • "Deor" in the Old English packet
  • "Wulf and Eadwacer" in the Old English packet


Please upload a reading response to the Dropbox labeled "Response 2 - September 13 or 15" before class on Tuesday or Thursday. 

Weekly Writing Prompt - September 13, 2016


Choose one of the prompts below. 

1) Some people claim that "subjectivity" (that is, an impression of the agency, personhood, interior life of an individual and that the individual recognizes that they have agency, personhood, and an interior life) isn't really evident in literature until later periods and that we don't get much sense of the "individual" or a speaker's subjectivity in early medieval literature. Considering the elegies we read for class on Tuesday, what do you think about this argument? Can you see subjectivity in these poems? What about these poems might lead to the idea that there is no sense of the individual? Please refer to specific lines and use evidence from the text to support your argument. 

2) What ideas do these poems give us about Anglo-Saxon society and the kinds of relationships that it depended on? What makes a good king or a good leader? What makes a good warrior? What kinds of relationships did the Anglo-Saxons value--and what did they perhaps not, as indicated by these poems? What kinds of communities did they form? etc. Please refer to specific lines and use evidence from the text to support your argument. 

3) According to these poems, what is "wyrd"? How does it work? Can the concept of wyrd be reconciled with Christianity? How do these two concepts interact, overlap, or contradict each other in these poems? Please refer to specific lines and use evidence from the text to support your argument. 

4) How do you see Christianity and Germanic traditions or paganism both present in these poems, interacting, contradicting, or in dialogue with each other? Please refer to specific lines and use evidence from the text to support your argument. 

5) Compare and contrast The Dream of the Rood with The Wanderer. Please refer to specific lines and use evidence from the text to illustrate your points.


Other Notes: 



  • I will be updating the "Engagement" and "Reading Quizzes" grades frequently. Because these are out of 100 points for the whole semester, right now everyone's grade will show an "E" for those categories. However, these categories will not effect your final semester grade until the end of the semester (otherwise your grade would really be skewed). You will see your grade increase towards 100 throughout the semester. Please ask me if you have questions or are confused by this. 
  • Please confirm the article you will use for your Precis assignment at least one week before it is due. If you are doing this assignment next week, please confirm your article with me as soon as possible. 
  • Please turn in a $5 copy card by next Thursday, September 15.
  • View today's Powerpoint here.

Tuesday, 6 September 2016

Class Recap: September 6, 2016

Welcome to ENGL 3300: British Literature I!

Anglo-Saxon stone column with carved foliage scrolls and birds
Today we went over important notes from the syllabus and met one another. We did not have much time to talk about canonicity or to look at "Cædmon's Hymn," so your writing assignment for Thursday asks you to look at the poem and write a response about it in preparation for Thursday. For reminders about the expectations and grading associated with this assignment, see the assignment sheet for Weekly Reading Responses.







Homework:


Readings from the Broadview anthology:

  • Background: “The Medieval Period,” pp. 1-12.
  • Bede, The Ecclesiastical History of the English People (excerpts), pp. 36-50.
  • “The Dream of the Rood,” pp. 58-60.
Additional readings: 
Please upload a reading response to the Dropbox labeled "Response 1 - September 8 - Cædmon's Hymn" before class on Thursday. 


Weekly Writing Prompt - September 8, 2016



Please write 1-2 pages responding to the prompt below and upload it before class begins on Thursday

"Cædmon's Hymn" is, as far as we know, the earliest recorded English poem. The Venerable Bede records it in Latin in his Historia Ecclesiastica Gentis Anglorum (The Ecclesiastical History of the English People or sometimes called The History of the English Church and People). Later, Bede's Historia was translated into multiple Old English editions, and "Cædmon's Hymn" was also translated. Below are all three versions of the poem, including in Modern English. Attached is a photo of one of the manuscripts of the poem, with the lines of the poem labeled. 

Take a look at the poem. What do you notice about the manuscript? About the way the poem is formatted? Write a 1-2 page paper reflecting on the poem in the manuscript and in the table below. What poetic features do you see in the translation? Does the state of the poem in the manuscript surprise you? Why? What is the poem about? What kinds of metaphors are used? What might this poem tell you about the Anglo-Saxons? How does Bede use it in his Historia and why does he quote it? Why does he write it in Latin? Why are we reading a Latin poem in an English class? If you take a look at the Old English below, what do you notice? What formal poetic features do you see--or what would you expect to see that is missing? What do you notice about the formatting of this version of the poem? etc. You do not have to answer all the above questions, but they are things to consider and can offer you a place to start.

Old English

nu sculon herigean     heofonrices weard
meotodes meahte     and his modgeþanc
weorc wuldor-fæder     swa he wundra gehwæs
ece drihten     or onstealde
he ærest sceop     ielda bearnum
heofon to hrofe     halig scyppend
ða middangeard     moncynnes weard
ece drihten     æfter teode
firum foldan     frea ælmihtig

Latin

Nunc laudare debemus auctorem regni caelestis,potentiam creatoris, et consilium illiusfacta Patris gloriae: quomodo ille,cum sit aeternus Deus, omnium miraculorum auctor exstitit;qui primo filiis hominumcaelum pro culmine tectidehinc terram custos humani generiscreavit.omnipotens

Modern English

Now [we] must honour the guardian of heaven,
the might of the architect, and his purpose,
the work of the father of glory as he, the eternal lord, established the beginning of wonders;
he first created for the children of men heaven as a roof, the holy creator
Then the guardian of mankind,
the eternal lord, afterwards appointed the middle earth, the lands for men, the Lord almighty.

In the Manuscript




Other Notes: