Oxford Medieval Graduate Conference 2024: Signs and Scripts

The Oxford Medieval Graduate Conference is back on April 8-9, 2024 with the theme of ‘Signs and Scripts’!

MONDAY, APRIL 8

9:30-10:00 Registration (in-person)

10:00-11:30 Session 1: Divine Affectivity

  • Marlene Schilling, ‘Connected through Script – Personifications of time as a distinct form of devotion across Northern German Convents’
  • Lucy Dallas, ‘Together in Love: Carthusian Marginalia in the Book of Margery Kempe’
  • Wilhelm Lungar, ‘Communicating Identity on Scandinavian Monastic Seals in the Middle Ages’

11:30-12:00 Break with refreshments

12:00-13:30 Session 2: Scribes & Song

  • Peter Fraundorfer, ‘Did somebody write a Latin-Greek Sammelband for the monastic school of Reichenau Abbey?’
  • Thomas Phillips, ‘1000 Years Later: Reconstructing Fragments of the Anglo-Saxon Office of St. Alban’
  • Ellen Hausner, ‘A Threefold Bursting Sun: the symbolic vocabulary of the Ripley Scroll’

13:30-14:30 Lunch

14:30-16:00 Session 3: Visual Signs

  • Elena Lichmanova, ‘Mirror Writing and the Art of Self-Reflection’
  • Furqon Muhammad Faiz, Tori Nuariza Sutanto, ‘Early Islamic Seals on Sumatra’s West Coast: Inscriptions and Cultural Significance’
  • Ilari Aalto, ‘Tracing Brickmakers’ Marks in Late Medieval Finland’

16:00-16:30 Break with refreshments

16:30-17:30 Keynote Address 1: Professor Sophie Page

17:30 Drinks Reception

18:30/19:00 Conference Dinner (optional)

TUESDAY, APRIL 9

10:00-11:30 Session 4: Objects & Collections

  • Megan Gorlitz, ‘Old English Riddles and Anglo-Saxon Reading Practices’
  • Marc Lawson, ‘Wielding the Word: The Symbolism of Book Satchels in Early Irish Christianity’
  • Charlotte Wood, ‘Signals of Death: Comb placement in cremations’

11:30-12:00 Break with refreshments

12:00-13:30 Session 5: Palaeography

  • Sebastian Dows-Miller, ‘Signs in (Manu)scripts: Towards a New Study of Scribal Abbreviation’
  • Max Hello, ‘Ornamenting and Writing: An aesthetic approach to Merovingian book writing (7th-8th centuries)’
  • Corinne Clark, ‘A Wild Dragon Appears: Difficult Significations in the Life of St. Margaret’

13:30-14:30 Lunch

14:30-16:00 Session 6: Codicology

  • Elliot Vale, ‘Missing the Point: Punctuating Prose/Poetry in CCCC 201’
  • Jemima Bennet, ‘Fragments in Fifteenth-Century Oxford Bookbinding’
  • Rhiannon Warren, ”Þad er nu eydilagt’? AM 241 b I fol as a Case Study of Árni Magnússon’s Collection and Manipulation of Icelandic Latin Liturgical Manuscripts

16:00-16:30 Break with refreshments

16:30-17:30 Keynote Address 2: Dr Hannah Ryley

17:30 OMGC 2025 Theme Selection + Closing Remarks

Call for Papers

We are delighted to announce this call for papers and invite proposals relating to all aspects of the broad topic ‘signs and scripts’ in the medieval world. Submissions are welcome from all disciplinary perspectives, whether historical, literary, archaeological, linguistic, interdisciplinary, or anything else. There are no limitations on geographical focus or time period, so long as the topic pertains to the medieval period.

Areas of interest may include but are not limited to:

  • Semiotics and semantics
  • Ways of (mis)reading
  • Palaeography and codicology
  • Spiritual / cosmological signs
  • Codes and conduct
  • Behavioural script
  • Dramatic script; theatre
  • Monuments; inscriptions
  • Heraldry; signboards
  • Graffiti and marginalia
  • Scripts of the body; tattoos
  • Textiles

We ask that all presenters attend in person with hybrid participation available for attendees who cannot travel to the event.

Submission Guidelines

Papers should be a maximum of 20 minutes. A limited number of bursaries are available to help with travel costs, and we welcome applications from graduate students at any university.

Please send abstracts of 250 words to oxgradconf@gmail.com by 17th December, 2023.

Gender and Sainthood, c. 1100–1500

5-6 April 2024, University of Oxford, History Faculty
Register for the conference here

Organisers: Antonia Anstatt (University of Oxford, email) and Edmund van der Molen (University of Nottingham, email)

This conference is generously supported by the Society for the Study of Medieval Languages
and Literature, the Hagiography Society, the Past & Present Society, and the History Faculty,
University of Oxford. In association with Oxford Medieval Studies, it is sponsored by The
Oxford Research Centre in the Humanities (TORCH).

FRIDAY, 5TH APRIL

9.30-11 PANEL 4: WRITING GENDER
Isabel Kimpel (Ludwig-Maximilian-University Munich): Famula Christi et Mulier fortis: The Writings
of Caesarius of Heisterbach on Saint Elisabeth of Thuringia
Georgie Crespi (University of Reading): ‘We’re All Born Naked, and the Rest is Drag’: The Concept
of Drag in ‘Christina of Markyate’ and ‘Revelations of Divine Love’
María del Carmen Muñoz Rodríguez (University of Seville): In ure lauerdes luue: The Spaces of
Female Sanctity in the Middle English ‘Seinte Iuliene’
11.30-13 PANEL 5: VISUALISING GENDER
Rosalind Phillips-Solomon (University of York): ‘Miraculous Aged Virgin’ or Quintessential Virgin
Martyr? Late Medieval Imaginings of Saint Apollonia
Sarah Wilkins (Pratt Institute, New York): A Preaching Woman: Mary Magdalen in Late Medieval
Italian Art
Elisabet Trulla Serra (Trinity College Dublin): Gender Configuration in Byzantine Art Through Saint
Mary of Egypt
14-15.30 PANEL 6: FAMILIAL AND SPIRITUAL RELATIONSHIPS
Jessica Troy (Independent Scholar): Unequal Treatment: The Power Struggle of Medieval Chaste
Couples
Laura Moncion (University of Toronto): ‘Be My Spouse’: Spiritual Partnership in the Life of Pirona
the Recluse
Michaela Granger (Catholic University of America, Washington DC): ‘And It Was Accounted to Him
(or Her?) as Righteousness …’: The Value of Childrearing in the Construction of Late Medieval
Sanctity
16-17.30 PANEL 7: MODERN PERSPECTIVES
Dannelle Gutarra (University of Warwick): Medieval Sainthood and Scientific Racism: Race, Gender,
and Sexuality in ‘History of the Female Sex’ by Christoph Meiners
Maria Zygogianni (Swansea University): Saint Athanasia of Aigaleo: An Entrepreneur Saint
Myrna Nader (American University of Beirut): The Cult of Marina the Monk: Faith, Discourse and
Sexuality in Contemporary Lebanon
17.30-18 CLOSING REMARKS

18 CONFERENCE END

Medievalists Coffee Mornings!

When: Fridays, 10.30-11.30 am

Where: Visiting Scholars Centre in the Weston Library
How to get there: via the Readers Entrance on Parks Road, 2nd floor via the staircase/elevator just straight ahead from the readers entrance (stick to the concrete part, do not use the ornamental staircase or you will land in the Conservation Department which is also nice but where no coffee is allowed).

NB: There is a new Weston Library Coffee Morning email list. Just send a message to coffee-mornings-weston-subscribe@maillist.ox.ac.uk . The subject and content of the message does not matter. You’ll be subscribed and will get messages, about once a week, of who is speaking and the calendar of coffee mornings.

All medievalists working in Oxford are welcome! Join us for coffee, conversations, and many insights into the Bodleian collections, cf. the playlist ‘Weston Library Coffee Mornings’:

Interfaith Harmony: Singing from Manuscripts

10 February 2024, 11:15-12:00, organised by the Oxford Interfaith Forum  as part of the One World Family Festival at the Ashmolean Museum.

Venue: Cast Gallery, Ashmolean Museum, Beaumont St, Oxford. OX1 2PH.

Shofar player opening Psalm 80, with the caption ‘Sing a new song unto the Lord’ in a Psalter manuscript from the German convent of Medingen, ca. 1500, Bodleian Library, MS. Don. e. 248, fol. 145v

This event will begin with music from medieval manuscripts in the Bodleian Library. The performance will also feature songs in Hebrew, Greek, Latin, German, and English for all to join, and will be interspersed with the sound of shofar and shell horn.

Music list: Shofar: Call to celebrating unity; ‘Cantate domino’ (Bodleian, MS. Don. e. 248, 247v); ‘Cantate domino’ (Giuseppe Pitoni); ‘Lumen ad revelacionem’ (MS. Lat. liturg. e. 18, 8r); Shell horn: Call to preserving nature; ‘Every part of this earth shall holy be for us’ (round by Stephan Vesper); Sea weed horn: Call to peace; ‘Hinema tov’ (round, orally transmitted); Horn: ‘Üsküdar’a gider iken’; ‘Victime paschali’ & ‘Christ ist erstanden’ (Bodleian, MS. Lat. liturg. f. 4); ‘Dona nobis pacem’ (round, orally transmitted).

This follows on from previous events organised by Henrike Lähnemann and Andrew Dunning ‘Singing from Manuscripts’. Click here to learn more about singing from Medieval Sources in the Bodleian Library.

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Oxford University Byzantine Society: International Graduate Conference

In association with Oxford Medieval Studies, sponsored by The Oxford Research Centre in the Humanities (TORCH) 

We are delighted to announce the finalised programme (and opening of advance registration for online attendance) for the Oxford University Byzantine Society’s 26th Annual International Graduate Conference ‘Transgression in Late Antiquity and Byzantium’, taking place on the 24th-25th February, 2024 at the Faculty of History, George Street, OX1 2BE.

The programme and abstracts of papers can be found on the dedicated conference website and below. The costs for attendance are as follows:
In person attendance: £15 for OUBS members / £20 for non-members
Online attendance: £5 for students / £6 for non students

Papers will be delivered in-person, with the proceedings broadcast on a Zoom link which will circulate via email to those purchasing online attendance tickets via Eventbrite (see link below). Advance registration for in person attendance is not necessary. If you plan on attending online, please purchase a ticket at our Eventbrite link.

We are grateful for the generous support of The Oxford Centre for Byzantine Research (OCBR), The Oxford Centre for Late Antiquity (OCLA), Oxford Medieval Studies, in association with The Oxford Research Centre for Humanities (TORCH), and The Faculty of History of the University of Oxford, as well as the many others who have helped with the conference’s facilitation.

We look forward to welcoming you to Oxford. Best wishes, the Conference Organisers:
OUBS President Alexander Sherborne
OUBS Secretary Ilia Curto Pelle
OUBS Treasurer Benjamin Sharkey

The OUBS Committee is grateful for the generous support of:

  • The Oxford Centre for Byzantine Research (OCBR)
  • The Oxford Centre for Late Antiquity (OCLA)
  • Oxford Medieval Studies, in association with The Oxford Research Centre for Humanities (TORCH)
  • The Faculty of History of the University of Oxford

The OUBS Committee would also like to express its gratitude to Shaun Cason, Eleanore Debs, Gavriella Makri, Bryce O’Connor, Rosalie Van Dael, Sophia Miller, Alexander Johnston, Nathan Websdale and Duncan Antich for their assistance with the conference’s facilitation.

Conference Programme

Venue: Faculty of History, George Street, Oxford, OX1 2RL

Saturday (February 24th, 2024)

11.00 a.m. – Opening Remarks (Lecture Theatre)

11.30-13.00 p.m. – Session 1: Panel 1a (Lecture Theatre); and Panel 1b (Rees Davies Room)

13.00-14.00 p.m. – Lunch Break (Common Room)

14.00-15.30 p.m. – Session 2: Panel 2a (Lecture Theatre); and Panel 2b (Rees Davies Room)

15.30-16.00 p.m. – Coffee and Tea Break (Common Room)

16.00-17.30 p.m. – Session 3: Panel 3a (Lecture Theatre) and Panel 3b (Rees Davies Room)

17.30-19.00 p.m. – Wine Reception (Common Room)

19.30 p.m. – Conference Dinner

Sunday (February 25th, 2024)

11.30-13.00 p.m. – Session 4: Panel 4a (Lecture Theatre); and Panel 4b (Rees Davies Room)

13.00-14.00 p.m. – Lunch Break (Common Room)

14.00-15.30 p.m. – Session 5: Panel 5a (Lecture Theatre); and Panel 5b (Rees Davies Room)

15.30-16.00 p.m. – Closing Remarks (Lecture Theatre)

16.00-18.00 p.m. – Parting Tea Reception (Common Room)

Schedule of Papers

Session 1: Saturday, 11.30–13.00

Panel 1a: ‘The Literary’
(Chair: Findlay Willis)
Panel 1b: ‘The Political’
(Chair: Alexander Johnston)
Duncan Antich
(Blackfriars College, Oxford) 
Compassion and Community: The Regula Pastoralis and Gregory’s Approach to Schism
Alejandro Laguna López
(Central European University)  
An Anti-Novelistic Novel: Subverting Love in Niketas Eugenianos’ Drosilla and Charicles
Averkios (Dimitris) Agoris
(University of Athens)
Multigeneric examples in Michael Choniates’s Educational Activity
Euan Croman
(Queen’s University Belfast)
Transgressing the domus imperii in the fourth and fifth centuries: Treason or Family Trouble?
Daniel Murphy
(Independent Scholar)
Usurpation Narratives as Political Commentary in Fourth-Century Historiography
Merve Savas
(Ohio State University)
Twisting the Narrative: Textual Transgression in Ammianus Marcellinus’ Res Gestae 14

Session 2: Saturday, 14.00–15.30

Panel 2a: ‘The Sexual’
(Chair: Alexander Sherborne)
Panel 2b: ‘The Conciliar’
(Chair: Bryce O’Connor)
Maria Christian
(Independent Scholar) 
“Look at that wood!” An Investigation into a Bizarre Sexual Practice Ascribed to the “Chaldeans” Involving Iconography in an Early Islamic Sex Manual
Vid Žepič
(University of Ljubljana) 
Legal Perspectives on Sexual Transgressions in Early-Byzantine Legal Sources
Pierrick Gerval
(University of Nantes)
Sexual violences during wartime, a transgression of Church prohibitions regarding sexuality in Byzantium (7th -13th century)
Kathleen McCulloch
(University of Cambridge)
Did Dioscorus transgress, or adhere to, established conciliar procedure at Ephesus II (449)?
Alexander Johnston
(Kellogg College, Oxford)
The Edge of Divinity: The Role of Wisdom in the Logos Prosphonetikos of the Quinisext Council
Rachel Edney
(University of Notre Dame)
The Eucharist in John Rufus’ Plerophories: Eucharistic Theology and Christological Controversy

Session 3: Saturday, 16.00–17.30

Panel 3a: ‘On the Edges of Byzantium’
(Chair: Benjamin Sharkey)
Panel 3b: ‘In the Land of Egypt’
(Chair: Sophia Miller)
Shaun Cason
(Worcester College, Oxford)
The End of Transgressions? Examining the Seventh-Century Treaty Between Islamic Egypt and Medieval Nubia
Dmitriy Kravets
(St. Hugh’s College, Oxford)
Orthodoxy and/or Empire? A Reassessment of the Career of Gregory Tsamblak (fl. 1402- 1415)
Helena Davies
(Linacre College, Oxford)
Sitt al-Mulk: A Damsel in Distress? Challenging Art-Historical Efforts to Rescue and Vindicate an Early Islamic Princess
Apolline Gay
(Université libre de Bruxelles) 
Looking for Eve: Figures of Female Transgression on Textiles from Byzantine Egypt
Michael Dunchok
(Kellogg College, Oxford)
A Higher Rank of Gods: In Defense of the Greek Magical Papyri
Chloé Agar
(Harris Manchester College, Oxford) 
‘He thrust his spear into the middle of him, and his bowels came out’: Literary violence against religious and legal transgressions in Early Christian Egypt

Session 4: Sunday, 11.30–13.00

Panel 4a: ‘The Archaeological and the Art-Architectural
(Chair: Gavriella Makri)
Panel 4b: ‘The Imperial and the Ecclesiastic
(Chair: Nathan Websdale)
Eleanore Debs
(Pembroke College, Oxford)
Examining the Peculiar Presence of Reliquaries Within Late Antique Baptisteries of the Limestone Massif
Sophia Miller
(Balliol College, Oxford)
Trees ‘Pleasant to the Sight’: Tree-Meaning in Late Antique Floor Mosaics in the Northern Provinces
Karolina Tomczyszyn
(Lincoln College, Oxford)
Transgressive Use of Holy Oils: In Search of Popular Religion in Syriac Christianity
Ziyao Zhu
(King’s College London)
Neither Just nor Unjust: Alexios I Komnenos and the Linguistic Politics of Byzantine Extrajudicial Confiscation.
Dilara Burcu Giritlioğlu
(Middle East Technical University)
Sinners and Saints of Constantinople: Union of Souls and Separation of Church and State
Findlay Willis
(St. Stephen’s House, Oxford)
Natural illness or divine punishment: the use of disability rhetoric to excuse or vilify the transgressions of Michael IV

Session 5: Sunday, 14.00–15.30

Panel 5a: ‘Defining Aspects of Deviance’
(Chair: Dimitri Kravets)
Panel 5b: ‘Transgressing Intellectual Borders
(Chair: Ilia Curto Pelle)
Ekaterina Rybakova
(Pirogov Russian National Researcher Medical University)
Illnesses of Spirit or Being: The Transgression of Pneuma in Byzantine Medicine
Thibaut Auplat
(Aix-Marseille University)
An overview of deviance in the 7th and 8th centuries: the Heresies by John Damascene
Patrick Martin
(University of Winchester)
Transgression in Middle Byzantine eschatological iconography
Mathijs Clement
(University of Cambridge)
Egeria, Traveller of Borderlands
Rosalie Van Dael
(St. Hilda’s College, Oxford)
Seeing is believing? Imagination in Augustine’s Letter 7 to Nebridius
Seyhun Kılıç
(Université Paris 1 Panthéon-Sorbonne)
Monk in a Mundane Realm: Exploring the Intersection of Spiritual and Secular Realms in the Middle Byzantine Period

The Reading and Reception of the Homeric Poems and the Nibelungenlied in Germany and Europe from the Eighteenth Century to the Present

Saturday, 25 May 2024
Organised by John Butcher (Meran Academy, South Tyrol) together with Henrike Lähnemann (Oxford Medieval Studies)
, Taylor Institution Library (St Giles’, Oxford OX1 3NA), Room 2.

Session 1, Chair: Nigel Wilson

Angus Bowie (University of Oxford) – A Homerist on Looking into the Nibelungenlied: Cortés or a Panamanian? Handout

10.40-11.00 John Butcher (Meran Academy) – Henry Fuseli, Homer and the Nibelungenlied

Andrea Doda (University of Oxford) – Power and Passion: The Role of Women (and Female Figures) in Homer and the Nibelungenlied Handout

Session 2, Chair: Henrike Lähnemann

Joanna Raisbeck (University of Verona) – Between Homer and the Nibelungenlied: Literary and Aesthetic Debates in Heidelberg around 1800

Alan Murray (University of Leeds) – Chivalric Warfare and Heroic Combat in the Nibelungenlied   

Christoph Schmitt-Maaß (LMU München / University of Oxford) – The Reception of the Nibelungenlied in Eighteenth-century Leipzig

Manuscript Workshop

Weston Library (Broad Street, Oxford OX1 3BG), Bahari Room – Homeric manuscripts with Peter Tóth and Nigel Wilson

Exhibition Viewing

Taylor Institution Library, Voltaire Room. Guided tour of an exhibition of editions of the Homeric poems and the Nibelungenlied with Mary Boyle and Philip Flacke (University of Oxford). Download the exhibition catalogue The exhibition will be on show 22-29 May, with a reduced number of objects continuing until 13 June 2024.

Guided tour by Philip Flacke and Mary Boyle

Header Image: Johann Heinrich Füssli: Kriemhild mourns Siegfried (1805)

Curating ‘Chaucer Here and Now’

by Professor Marion Turner (English).
All images by Ian Wallman. 

Chaucer Here and Now, a major exhibition at the Bodleian Library, was opened on December 7th by Sir Ben Okri, and it runs until April 28th. I’ve curated this exhibition about Chaucer across time; about inspiration, creativity, and readers. It brings extraordinary medieval manuscripts and early printed books together with modern film, animation, cartoons, and contemporary poetry. Across time, Chaucer has been re-imagined in many different ‘heres and nows,’ made to fit changing expectations and tastes. The show is accompanied by a lavishly-illustrated book of essays about the ideas and themes of the exhibition.

The exhibition includes the oldest Canterbury Tales manuscript, the Hengwrt Chaucer, on loan from the National Library of Wales. It also showcases some of the most beautiful illuminated Chaucer manuscripts, alongside particularly gorgeous manuscripts of Dante and Boccaccio’s work. The first and second editions of the Canterbury Tales, printed by William Caxton in 1476 and 1483 are some of the most important early printed books in existence. William Morris’s Kelmscott Chaucer, perhaps the loveliest of all Victorian books, is another jewel, and there are also collections of Victorian children’s Chaucers, eighteenth-century Chaucerian ballads, and a cluster of translations into languages such as Ukrainian, Japanese, Farsi, Esperanto, German, Brazilian Portuguese, Russian, Hebrew, French, and Korean.

The exhibition reveals that readers have always been actively responding to Chaucer’s texts. In the first case, three manuscripts are open at the same tale, Chaucer’s unfinished Cook’s Tale. While one scribe simply says that Chaucer did not finish the tale, another finishes it off for him, while a third adds a completely different tale (not by Chaucer) calling it a second Cook’s Tale. Early scribes and editors did not treat the text with reverence – indeed they had to make decisions about what to do with the unfinished texts that Chaucer had left behind.

In later centuries, translators and adaptors became concerned about Chaucer’s discussions of sex and the body, and censored his texts heavily. Pope’s translation of the Wife of Bath’s Prologue cuts out all the references to sex, the genitals, desire, and the body, leaving a short and fairly unrecognisable text. In the nineteenth century, the popular tales included the Clerk’s (about female submissiveness), the Knight’s (about chivalry and courtly love), the Nun’s Priest’s (an animal fable), and the Man of Law’s (female suffering again). The tales about farting, adultery, and sex in trees, were less popular. In contrast, in the twentieth-century, many readers focused exclusively on those fabliaux tales – the prime example being Pasolini’s film.

While in the nineteenth-century, Chaucer was seen as a poet of empire, whose texts should be sent out around the world to promote a certain kind of Englishness, in more recent decades, Chaucer has been reimagined as a poet of diaspora and refugees. The exhibition brings together the Refugee Tales volumes (from 2016 onwards), the records of a project whereby refugees and writers walk the pilgrimage route and tell their stories. Other texts that link Chaucer’s focus on travel and giving voice to diverse storytellers to modern diasporas include Jean ‘Binta’ Breeze’s translation of part of the Wife of Bath’s Prologue into Jamaican English, Marilyn Nelson’s Cachoeira Tales, which uses the Canterbury Tales as an inspiration for writing about the forced migration of enslaved people, and Zadie Smith’s Wife of Willesden which transposes the Wife of Bath’s Tale from Arthurian Britain to a community of Maroons (the descendants of formerly enslaved people) in eighteenth-century Jamaica.

This exhibition shows how the idea of Chaucer as the Father of English Literature developed, and became firmly established in sixteenth century printed editions, which featured dominating portraits of father Chaucer, positioned in such a way as to construct him as the Father of the Nation. This authoritative idea of Englishness elides the multilingual background of Chaucer’s own texts and life: the exhibition showcases Chaucer’s multilingual sources, his own translations, and his use of different languages in his texts. The global author of today – translated into many languages, and inspiring many writers from diverse backgrounds – is not so far away from the fourteenth-century traveller and diplomat.

The exhibition offers various ways to engage with Chaucer’s texts. You can put on headphones and watch some of the BBC animated Canterbury Tales. On the back wall, the opening couplet of the Tales is projected in multiple languages. Every seven minutes, a one-minute monologue is projected onto one wall: the Knight, Miller, or Wife of Bath, talks about themselves in modern English. And just outside the main exhibition, in the transept, there is a pilgrimage wall, with graphics of the pilgrimage route, onto which visitors are encouraged to stick their own pilgrim creations. Craft materials are provided, along with video tutorials by artists about how to draw Chaucer cartoons or make Chaucer puppets.

Students have been involved in various aspects of the exhibition: the review in the Times opened with discussing the area of the exhibition which features photos of current Oxford students and quotations about what Chaucer means to them. The journalist singled out the student who has a Chaucer tattoo on her forearm.

In his opening speech, Sir Ben Okri talked about the fundamental importance of Chaucer, saying that his work and ideas were like a river running underneath world literary culture. He walked on to the podium to the song ‘A Whiter Shade of Pale,’ which faded after the line ‘as the Miller told his tale.’ It was a great example of how Chaucer seeps into people’s consciousness, and continues to inspire poets, playwrights, artists, students, and all kinds of other people, from all over the world, in many different heres and nows. I hope people have fun in the exhibition, and that it surprises them.

The exhibition runs from 8 December 2023 to 28 April 2024 at the St Lee Gallery, Weston Library (Bodleian Libraries). Admission is free. Find out more on the Bodleian Libraries website.

There are two upcoming FREE special events:

  • Friday 2 February 2024: Chaucer Now: an event to celebrate recent rewritings of Chaucer’s Canterbury Tales. (click here to find out more)
  • Saturday 27 April 2024: Creating Chaucer: join us to explore Chaucer’s world through creative activities, talks and discussion. (click here to find out more)

The Saxon ‘Other’ and the Saxon ‘Self’ in the Translation of Genesis B

Elliot Vale will be exploring the translation of Genesis B in more detail at the first OCCT discussion group of Hilary Term: Monday 22nd February, 12.45–14.00, Seminar Room 10, St Anne’s College. Lunch provided.

The Old English poem Genesis B is unique as the only verifiable example of a vernacular-to-vernacular translation during the Anglo-Saxon period. Interestingly, its source language Old Saxon and target language Old English were closely related and mutually intelligible. John Hines argues that the residual ‘Old Saxon’ nature of the Old English poem ‘displays the cultural connexions of a now Saxon-dominated England with the Christian Continent’. In this, Genesis B epitomizes the Anglo-Saxons’ continued and evolving relationship with the continental Saxons, exhibiting both the Saxon ‘other’ and the Saxon ‘self’.

In this blogpost, I will survey the historical and linguistic interrelation of the Anglo-Saxons and the Old Saxons to understand what might have motivated the translation of Genesis B.

Let’s begin before the beginning with the pre-migration linguistic situation of Germanic Europe. The Germanic dialects spoken in north and north-west Europe around the 5th century are known as the ‘West Germanic’ languages. They consisted of three main groups, the ‘Irminonic’ (which became modern High German), ‘Istvaeonic’ (which became modern Dutch), and ‘Ingvaenoic’ (which became modern Frisian, Low German, and English). This last group, also known as ‘North Sea Germanic’, divides further into Anglo-Frisian (a branch including both Old English and Old Frisian) and Low German (which includes Old Saxon). During the Age of Migration from the 4th to the 6th century, peoples whose languages were closely related and mutually intelligible migrated in groups and merged. This seems to have happened with the Germanic tribes who migrated to Britain in the 5th century.

This migration made a distinction as well as highlighted a commonality between what would become the Anglo-Saxons in Britain and the Old Saxons on the continent. In his Ecclesiastical History of the English People, the Northumbrian scholar Bede names three Germanic tribes who migrated to Britain in the fifth century: the Angles, Saxons, and Jutes. He has this to say about them:

‘The people of Kent and the inhabitants of the Isle of Wight are of Jutish origin […] From the Saxon country, that is, the district now known as Old Saxony, came the East Saxons, the South Saxons, and the West Saxons. Besides this, from the country of the Angles, […] which is called Angulus, came the East Angles, the Middle Angles, the Mercians, and all the Northumbrian race […] Angulus is said to have remained deserted from that day to this.’ (Bede 51)

The peninsular Jutes seem have been absorbed by Danish expansion westward into the apparently deserted homeland of the Angles (thought to be Angeln in Schleswig Holstein). Only the Saxons became distinguishable as two peoples, the insular Anglo-Saxons in the southern English Kingdoms of Wessex, Essex, and Sussex and the continental Old Saxons in Old Saxony. Consequently, the Germanic inhabitants of Britain could maintain a connection with the continent they had migrated from, defining themselves both in relation to and in opposition to it.

After their own Christianisation, the Anglo-Saxons pursued missionary activity on the continent among related Germanic tribes, primarily the Frisians and the Saxons. Missionary work was conducted among these groups because they spoke languages (namely Old Frisian and Old Saxon) that were closely related to and mutually intelligible with Old English. In the early 8th century, St. Boniface, a Northumbrian monk, established an important abbey for the Saxons at Fulda in Germany. In a letter, Boniface implored the Anglo-Saxon bishops in England to ‘Take pity upon them [the Saxons]; for they themselves are saying: “We are of one blood and one bone with you”’ (75). Clearly, it was recognized that the insular and continental Saxons were connected historically, linguistically, as well as ethnically.

With Christianity came literacy, and the Saxons seemed to define their nascent literary culture in the light of the Anglo-Saxons who converted them. This is exemplified in a pair of Latin texts, the Praefatio and Versus, which are thought to have once prefaced an edition of Heliand, an Old Saxon gospel poem. Among other points touching on Saxon poetry, these texts describe a Saxon shepherd who was divinely inspired to compose vernacular biblical poetry. This is clearly modelled on the Cædmon legend as narrated in Bede’s Ecclesiastical History, a text Anglo-Saxon missionaries took with them to the continent. In Bede’s account, a lay brother at Whitby Abbey abandons a feast in shame at his inability to perform a secular song. Nevertheless, he is visited by an angel and divinely inspired to create religious alliterative poetry, thereby fusing the traditional Germanic verse form with Christian subject matter. A Saxon scribe seems to have borrowed this legend to provide a similar ‘origin story’ for Saxon religious alliterative poetry.

Cultural influence seems to have been mutual, however. For example, Barbara Raw has shown how the illustrations in the Junius 11 manuscript cohere more with Genesis B than Genesis A. From this observation, she argues that the illustrations must derive from an illustrated edition of the complete Old Saxon Genesis. This now lost manuscript was likely given as a wedding gift to King Æthelwulf (Alfred’s father), who married the daughter of the Frankish Emperor Charles the Bald in 856. Furthermore, King Alfred’s educational reforms drew many scholars from the continent, such as a man known as ‘John the Old Saxon’. Alfred’s biographer Asser describes him as ‘a man of most acute intelligence, immensely learned in all fields of literary endeavour’ (93). Alfred’s prioritization of the translation of Latin texts into English also strongly suggests that Genesis B was translated at his court. Thus, Anglo-Saxons helped to establish a Saxon literary culture that consequently influenced the further development of their own.

An important text Alfred commissioned to be translated was the fifth-century Latin History Against the Pagans by the Spanish theologian Paulus Orosius. The Old English version of this work contains an interpolated pair of texts, editorially named ‘Ohthere and Wulfstan’. These texts detail anecdotally the passage of two seafarers all around Scandinavia and the Baltics. An editorial aside as Wulfstan approaches his native Hedeby on Jutland remarks that ‘[t]he English lived in that region before they came to this country’ (Orosius 43–5). So we have come full-circle: the Anglo-Saxons’ continued sense of themselves as a migrant nation only strengthened their ties to their ancestral homelands on the continent.

The Anglo-Saxons never forgot their origins on the continent nor played down their continued relations with it but used it in the formation of their own identity. Genesis B is an Old English poem in language and style but retains enough Old Saxon features to nevertheless convey a deliberate ‘feeling of foreignness’. Lawrence Venuti argues that ‘translation wields enormous power in the construction of national identities for foreign cultures’ (‘Regimes’ 209). As a translation, Genesis B constructs a foreign identity for a national culture, containing in its hybrid language and literary style the Saxon ‘other’ and the Saxon ‘self’.

Elliot Vale holds a BA in English from the University of York and an MSt in English 650–1550 from the University of Oxford. His research interests lie in applying modern translation theory to medieval texts and the reception of Old English poetry from the 19th to the 21st century, especially through translation. He has written on translational ‘bias’ in the Old English poem Exodus and the Old English Hexateuch and on the stylistic analysis of metrically imitative translations of Beowulf. He translates from Old English and Swedish.

Title image: Oxford, Bodleian Library, MS. Junius 11, p. 31.

Works cited

Asser. Alfred the Great: Asser’s Life of King Alfred and Other Contemporary Sources, edited and translated by Michael Lapidge and Simon Keynes, Penguin Books, 1983.

Bede. Bede’s Ecclesiastical History of the English People, edited and translated by Betram Colgrave and R. A. B. Mynors, Oxford University Press, 1969.

Boniface. The Letters of Saint Boniface, translated by Ephraim Emerton, Norton, 1976.

Hines, John. ‘Attitude Problems? The Old Saxon and Old English Genesis Poems’. Language Structure and Variation: A Festschrift for Gunnel Melchers, edited by Magnus Ljung, Stockholm Studies in English 92, 2000, pp. 69­–90.

Magoun, Francis P., Jr. ‘The Praefatio and Versus Associated with some Old Saxon Biblical Poems’. Medieval Studies in Honor of Jeremiah Denis Matthias Ford, edited by Urban T. Holmes, Jr. and Alex J. Denomy, Harvard University Press, 1948, pp. 107–136.

Orosius, Paulus. The Old English History of the World: An Anglo-Saxon Rewriting of Orosius, translated and edited by Malcolm Godden, Harvard University Press, 2016.

Raw, Barbara. ‘The Probable Derivation of Most of the Illustrations in Junius II from an Illustrated Old Saxon Genesis’. Anglo-Saxon England, vol. 5, 1976, pp. 133–148.

Venuti, Lawrence. ‘Translation as cultural politics: Regimes of domestication in English’. Textual Practice, vol. 7, no. 2, 1993, pp. 208–223.

Poetry in the Medieval World

New TORCH Network approved

by Ugo Mondini

Poetry in the Medieval World is a network that explores premodern literature from a global perspective. Its aim is to address broad questions and seek answers building on contemporary discussions in comparative and world literature through a cross-disciplinary approach.

Our case study is currently poetry between c. 600 and c. 1250 CE. Poetry is a multifaceted phenomenon: it answers to different needs, travels across communities, and undergoes continuous changes. It is rooted in shared culture and knowledge; its intercultural communication or its appreciation by posterity can, at times, fail. There are recurring features: vivid images, complex words and rhythm, but also recitation music and singing. It is an expression of beauty and harmony. Even if poetry requires specialised experts to be scrutinised, yet its study should be easily approachable and crucial to the understanding of premodern literature, but also of literature as a whole. This – and way more – is the realm of poetry the Network will explore.

The Network creates an infrastructure for an open dialogue on medieval poetry with reading groups every two weeks, lectures by national and international scholars, and two annual meetings. The focus of our discussion is the production and transmission of poetry, its historical reception, and the challenges of translating it into modern languages, with a particular emphasis on English.

The Network connects people driven by scholarly curiosity. Therefore, we are extremely keen on receiving expressions of interest for collaboration from people at any phase of their career. If you are interested in this project and want to contribute to it actively, please email Ugo Mondini. The first events in Hillary 2024 will be shared in the coming weeks on the TORCH Networks website and the network’s X account (@PoetryMedieval), both of which are currently under development.

Images:

  1. Fujiwara no Yukinari (Kōzei), Excerpt from Bai Juyi’s “Autobiography of a Master of Drunken Poetry Recitation”
  2. David singing, MS BNF Par. gr. 139, f. 1v

Oxford’s Medieval Meadow

by Jocelyn Wogan-Browne

Hinksey Meadow is first on record in a grant by Henry I to Abingdon Abbey 1102 x 1110, and it’s still there, in West Oxford in walking distance of Oxford Railway Station, one of the rarest, most species-rich meadows in Britain. But it’s threatened with destruction – by the Environment Agency.  The EA is insisting that it should build only the most destructive version of its Oxford Flood Alleviation Scheme, scooping out a  5 km channel through the Oxford green corridor from Botley to Sandford Lock, through Hinksey Meadow.

The UK has lost 97% of its meadows since World War II, including so many floodmeadows that the Thames Valley contains a quarter of those remaining. Hinksey Meadow is even rarer than that: it  is a wildflower floodplain meadow with type MG43a grassland, of which only four square miles survive in the UK as a whole.  It’s of much higher diversity than, for instance, Port Meadow.

Hinksey Meadow has survived for the best part of a thousand years because it’s part of a sustainable agricultural collaboration between humans and their environment: managed grazing fertilizes the meadow, and the meadow’s hay cut provides food for stock with no need for industrial fertilizer.  Hinksey is also an invaluable seedbank for the future of regenerative farming.  

Image1. Part of the scheme area, showing the direction floodwater takes and the location of the EA’s channel (up to 200 metres wide). Red arrow marks site of Hinksey Meadow

The channel requires

  • digging out c.400,000 cubic metres (700,000 tonnes) of soil and gravel
  • removing 3780 mature trees and 11 kms hedgerows
  • destroying habitat for many species of insects, birds and animals
  • destroying existing braided floodplain streams and wild life corridor
  • destroying iconic Oxford riverine willowlined landscapes
  • compulsory purchase of some 1000 parcels of land in and around the scheme area
  • release of sequestered carbon: grassland is second only to peat in its capacity

Hinksey Meadow cannot survive digging up and hydrological interference.

Landscape artist Elaine Kazimierczuk painted the Meadow for a charity auction to raise funds for its defence: see her at work and hear why, even on the grey windy English summer’s day the weather gave her,  she feels so passionately about the Meadow

The  EA’s channel offers

  • a small increase in alleviation to a few dozen houses and shops at massive financial and environmental cost
  • a big ticket scheme that will ultimately enable more development in and around the floodplain

And it is not needed:

  • up to 85-90% of the scheme’s protection is offered by much smaller localised flood defences such as bunds and earthworks
  • independent experts in hydrology and cost/benefits have shown that no channel works very nearly as well, without the enormous environmental destruction, and have also proposed several other alternative strategies.

Why does the EA insist on the channel?

It won’t say.  In the absence of clear reasons, we can only speculate that it decided on the channel (its characteristic response in twentieth-century flood schemes) in advance and then worked backwards to try to find mitigations. Independent experts pointed out that the EA used the wrong DEFRA metric for the area’s biodiversity in its application.  In its revised application the proper metric turned the EA’s claimed 10% increase in biodiversity into a biodiversity loss.

The EA now claims it will

  • translocate MG4a grassland. This cannot be done according to independent experts: such grassland takes hundreds of years to create.
  • create wetlands and plant saplings onsite and offsite (in unspecified locations somewhere in Oxfordshire)
  • secure environmental partners and get landowners to help with the costs of monitoring and maintenance

This leads to absolute loss of irreplaceable bio-diversity and interlocking mature eco-systems at least 30 years to wait before saplings become mature trees – if they are maintained. (For the effects  of a riverine EA scheme in 2022 see this BBC Interview)

Some of the trees that will be lost within and beside the Oxford meadows
The Willow Walk, the path by Hinksey Meadow
The EA’s proposed replacement for Willow Walk

What can be done? Objectors have secured a Public Enquiry into the scheme. The Enquiry opens 10 am on Tuesday 14 November 2023 for a month at The King’s Centre, Osney Mead, Oxford OX2 0ES (walkable from the railway station).  FIND US | The King’s Centre (kingscentre.co.uk)

You can

1. Support the Public Enquiry by joining a peaceful demonstration 10am on 14th November outside the King’s Centre entrance. Feel free to bring your own signs and banners. Please do get in contact at the email below if you would like to come on the 14th.

2. Sign the petition to Save Hinksey Meadow

3. Spread the word! And if you know people who might be able and willing to contribute to the defence of the meadow, direct them to the Go fund me page

References and more information

Any questions to Jocelyn Wogan-Browne, FMAA
SCR Associate St Edmund Hall, University of Oxford
Thomas F. X. and Theresa Mullarkey Chair in Literature (Emerita), Fordham University
olim Professor of Medieval Literature, University of York