Is this your first term in Oxford or have you been here for years? Are you visiting? Or perhaps planning on applying for our Medieval Studies programme?
Philip Flacke completed an internship in Oxford in Trinity 2024, and he’s prepared an important list of 10 rules for Oxford you’d regret not knowing:
This video was filmed by Henrike Lähnemann in the courtyard of the old university library in Göttingen, next to the statue of the philosopher and scientist and aphorist Lichtenberg and adjacent to the repurposed Paulinerkirche. Fun fact: Göttingen had close links to Oxford as founded by one of the King Georges of England and Hanover!
Once upon a time a scholar stepped onto a ship with a saga in hand; it sounds like the recipe for a bad joke, or a half-forgotten tale scribbled in the margins of manuscript come down from the Middle Ages. But this is how a modern-day saga starts, my saga of teaching Old Norse literature and culture aboard the Tecla, begins.
As a second-year DPhil in Old Norse at the University of Oxford’s Faculty of English, my closest encounter with ships and seafaring prior to this year were the terse accounts of Norse voyages and the not infrequently sparse descriptions of ships in the medieval Icelandic sagas. My imagination could skim across the waters of the North Atlantic with Egill Skallagrímson, Óláfr Tryggvason, or Eiríkr hinn rauði but my body was rooted in Oxford. The Turville-Petre room to be exact.
When the opportunity came to travel as a guest lecturer in Old Norse literature and culture aboard a 1915 traditional Dutch herring drifter, I dropped my pens and grabbed (my metaphorical) sailing boots to join a voyage which would span almost the breadth of the North Atlantic an embark on an adventure through these storied landscapes.
Figure 2 The Tecla, Greenland
Photo Credits: Mary Catherine O’Connor
Over a six-week period from the beginning of September to the middle of October 2024 the Tecla sailed from Nuuk, Greenland to Ullapool, Scotland, a voyage of over two thousand nautical miles. This was not only a journey through space, but also a journey backwards through time. Sailing from the western end of the North Atlantic to its eastern fringes, the Tecla retraced routes once taken by Norse sailors and traders who plied these waters over a thousand years ago as they sailed from Greenland eastwards to Iceland and on to Norway or south to Scotland.
The first region the Tecla sailed through, Greenland, was one of the last places to be settled by the Norse. The Vinland sagas tell how Greenland was first discovered and settled by Eiríkr hinn rauði and his followers, but they also recount the first Norse voyages to North America under Eiríkr’s son Leifr and his daughter Freydís. Over the course of the Tecla’s voyage, the sagas, the works of Arí inn fróði, and the Icelandic annals were just some of my literary companions as I lectured on topics ranging from how and why the Viking Age began, the history of the Greenlandic settlements and later on, the Icelandic settlements as we approached Iceland, how the Norse built their houses and farmed, the myths, Christianisation, the laws, how society was organised, weapons, and ships.
The Greenlandic settlements are also the only Norse settlements which did not survive into the modern era and so much of the discussion onboard during this part of the voyage centred on the environmental and population factors which may have caused the decline of these communities. Witnessing this landscape from the perspective of sailing through it gave me a sense of its hostility to human inhabitation and the fragility of medieval and modern settlements along its coasts.
During this leg of the sailing trip, I had two rare experiences of teaching. The first of these came at the end of the first week of travelling. After seven days of brutal winds, fog, and cold rains, the weather finally cleared enough to move out from the inshore passages and set the sails. The sun blazed from clear skies and the ice cap sat almost at the water’s edge amidst grey gravel banks deposited by the receding glaciers on the coastline while the wind whistled through the stay sail and mizzen sail. The Tecla was skimming the water’s surface and finally, I understood the joy of sailing.
For this day’s lecture, I decided on a change of scenery. I typically gave lectures in the salon where the guests and I could shelter from the weather and I had a the use of a projector. However, I realised that few things beat being outside on a sailing boat when the weather is on your side. And what is more, even fewer things beat sitting on a traditional sailing ship with a saga in hand talking about Norse history while the Greenlandic coast slides by.
Figure 3 Me, sailing and teaching outside aboard Tecla as sail down the Greenlandic coast
Photo Credits: Jorrit Harrsema
The second, and very much surreal, teaching experience during the Greenlandic leg came when the Tecla anchored off Hérjólfsnes and everybody on board went ashore. Hérjólfsnes is a very small headland jutting out into the waters at the mouth of a fjord system close to Greenland’s southern tip. The remains of a longhouse built around a thousand years alongside some smaller buildings including the remains of a chapel built later litter the bare headland. According to the sagas, Hérjólfr Barðarson was amongst the first settlers to Greenland and Hérjólfsnes has been identified as the location of his farm. Unlike the more touristic and developed Eiriksfjorðr, Hérjólfsnes stands bare of tourist trails, modern glass heritage centres, and queues of tourists. The headland is extremely beautiful, but also well positioned along sailing routes, and it is easy to see why it was chosen for a farm site. Located at the edge of a fjord, ships could stop by bringing goods and news as they travelled north to the Western Settlement or could refuel before making the crossing to Iceland or perhaps Norway.
The farm has been left more or less untouched for a thousand years. It is exposed to the raw elements of the weather with nothing but a little sign and an archaeological site plan to indicate its importance. Standing at the threshold of the longhouse I could finally bring to life how longhouses were built how people may have lived and farm in a place like Hérjólfsnes. To be able to stand in such an important archaeological site is a rare experience of history and it is only by stepping into places life Hérjolfsnes that I truly gained a sense of how special these places are.
Figure 4 Herjólfsnes, Greenland
Photo Credits: Willemijn Koenen
During the second leg of the voyage and with a new group of passengers, I turned the focus of my lectures to the Norse settlements on the other side of the Atlantic: Faroes, Shetland, Orkneys, and Hebrides. These islands too are their share of stories and so my attention was turned to the worlds of Færeyinga saga, Orkneyinga saga, and the many references to travellers from these islands in the Icelandic Family sagas. With the exception of Faroes, these islands are places with long histories of settlement before the arrival of the Norse. The pattern of Norse settlement here therefore varies immensely from the history of the farmsteads in Greenland and Faroes which were unoccupied before the Norse made their homes there. The islands off the coast of Scotland have been inhabited for at least 4500 years and the traces of these earlier communities are scattered across the landscape. Stone circles, howes, brochs, wheelhouses, and barrows create a landscape imprinted with human touches reaching down through history. In many places, the Norse built their houses on top of these earlier sites and so these places offer a window into how the Norse negotiated and co-existed with the people who came before.
Figure 5 Kallur Lighthouse, Kalsoy, Faroes
Photo Credits: Gijs Sluik
The first stop after Iceland was Faroes. This small group of islands, standing out in the Atlantic about halfway between Norway and Iceland, was home to Norse communities from about 800 AD. On the island of Straumoy I moved my lecture theatre once again into the open air and took the group to Kvivík, an excavated longhouse with an adjacent cow-byre. This was once a high-status settlement dated to 1000 AD and gives a sense of what an important farm in Faroes might have looked like.
Figure 6 Kvívik, Streymoy, Greenland
Photo Credits: Mary Catherine O’Connor
A few days later, we arrived in Shetland into Burrafirth on Unst. In the neighbouring bay, Haroldswick, there is a reconstruction of a longhouse, and a longship modelled on the Skidbladner. Ships were the lynchpin of Norse expansion and the Viking Age and it was here that I had the perfect teaching materials to show Norse technological innovations in shipping and to explain why these ships were so successful for raiding and travel. Although they are a far remove from modern ships and experiences of travel like on the Tecla, the reconstructed ship on Unst serves to highlights the dangers and risks of this kind of travel but also the successes of Norse ship-building.
On Mainland, Shetland I took the group to Jarlshof. Jarlshof was first inhabited about 2500 years ago when the first broch was built there. Late on, Pictish wheelhouses were built on top of the earlier brochs and then even later, the Norse built longhouses at the same site. The site offers multiple layers of time through its excavated sections and illustrates the different ways people thought about architecture and living in the same place in the landscape. Bringing the group to Jarlshof was important in highlighting the way in which the Norse settlers took over earlier sites of importance in communities but also to show how they imprinted their culture and power structures onto the lands they settled.
Figure 7 Longhouse, Haroldswick, Unst, Shetland
Photo Credits: Mary Catherine O’Connor
St Magnus, an earl of Orkney, was killed by his kinsmen in a feud, and later canonised as a saint. His cult quickly spread across Orkneys and Shetland during the medieval period and the traces of his importance to people’s lives are reflected in the numerous churches dedicated to Magnus throughout these isles. In Orkney, on the isle of Egilsay, Magnus was betrayed and murdered by his cousin Hakon Paulsson and the island became a local pilgrimage site attracting visitors for centuries. It was to Egilsay that we too made a journey to the island from where the Tecla was docked on Rousay. Switching from my previous classrooms of longhouses and ships, the remains of St Magnus’ church became my latest classroom. Amidst the grey walls of the holy site where people once learned about the word of God, I taught about the history of Christianity in the Orkneys and the life of St Magnus as it is found in Orkneyinga saga.
Figure 8 St Magnus Church, Egilsay, Orkney
Photo Credits: Mary Catherine O’Connor
The Hebrides were the last group of isles to pass through before the Tecla arrived at her final port in Ullapool. By the time the Norse arrived in the Hebrides these islands were heavily Gaelicised by the Irish kingdom of Dal Ríada. The Norse anchored fleets in the Hebrides for raids south into the Irish Sea and control of the islands was frequently contested by the Norse of Dublin and Man and the Norse in the Orkneys. One of the most important sources of evidence for Norse occupation in Scotland are the placenames. Shetland and Orkneys are almost entirely dominated by Scandinavian place-names whereas the Hebrides have a wide mixture of Gaelic and Norse place-names. Travelling through these islands, I delved into the theories of why the Norse did not culturally dominate the Hebrides as they did elsewhere in the Scottish isles and explained some of the theories about the early patterns of Norse raiding and occupation in this area.
Standing aboard the Tecla, a traditional sailing ship, with a saga in hand in the North Atlantic is a rare experience of history and of seeing the world the Norse explored and inhabited a thousand years ago. As an Old Norse DPhil student, to teach Norse history and to share a little of my passion as we sailed through the North Atlantic was an even rarer gift and perhaps a stranger saga of modern times that is only possible thanks to Tecla, her crew, and her captain. Sailing while teaching with sagas was a new experience for me working in public engagement but it is something that I have found great joy in and look forward to finding more ways to bring my work and the wonders of the medieval Icelandic sagas to audiences beyond academia.
Main photo:The Tecla, Prince Christian Sund, Greenland. Photo Credits: Mary Catherine O’Connor
On Friday 8th and Saturday 9th November, the online workshop Epiros: The Other Western Rome was held, platforming twenty-one papers from sixteen universities. As the second phase of a new international project, the workshop investigated the Byzantine successor-state of Epiros (1204–1444). Formed from the Fourth Crusade, this Balkan state existed as an alternative narrative and third Byzantine-Roman context, encompassing a vast variety of peoples of the former empire.
Originally envisioned as a one-day workshop, the programme was expanded to two days to accommodate so many excellent submissions. As a result, we were able to offer panels on, The ‘Post-Komnenian System’, ‘Epiros and Bulgaria’, ‘Epiros and its other Neighbours’, ‘Network Analysis,’ ‘Hybrid Material Culture,’ and more. The workshop’s convenors are hugely grateful for the participation of speakers and attendees, as well as the support of both The Oxford Centre Research Centre in the Humanities (TORCH) and the Oxford Centre for Byzantine Research (OCBR).
An edited volume of papers is planned, and a selection of images below.
By Caroline Croasdaile in conversation with Mickey Alice Kwapis,Contemporary Artist and Jewellerof Meaningful Material
Medieval Material
A small piece of stone, a snippet of fabric, a tiny lock of hair. All of these materials would be just as at home within a hollow late medieval pendant, as in a sentimental locket made weeks ago. What is it about these things, detritus in any other context, that makes them more precious than their gold or jewelled containers? Why have people throughout time collected and enclosed these materials as special, religious, magical, or memorial in containers that they wear close to their bodies?
These are some of the questions that are explored in my D.Phil. dissertation entitled, Wearable Containers of Meaningful Things: English Late Medieval and Early Modern Jewellery to Enclose, Conceal, and Enshrine. It is in this project that I examine artefacts like pendants and rings, and the changes this unique type of object undergoes, particularly in light of the Reformation. While medieval examples of these objects have widely been labelled ‘reliquaries’, the startling variety of their contents includes coins, hair, plant matter, textile, stone, or textual amulets. The diversity of their contents has opened the door for a wider consideration of what exactly is a ‘relic’, and what ‘relic-making’ or memory-making practices medieval people engaged in. Not everyone had access to the body parts or materials of saints in the late medieval period, which were often closely guarded in the treasuries of churches. However, medieval people could draw on the blessings of priests, tokens obtained through pilgrimage, or the ritual of prayer to create or enhance special materials to be worn in aid of devotion or to protect the body. During my research, I was struck by the stark similarities that present-day sentimental jewellery holds with these medieval artefacts. While their contexts of belief may be different, many of the types of materials contained are the same, and are similarly capable of capturing big ideas, world-views, and emotions, within tiny interior spaces.
Pendant containing a drop of blood caught on a tiny piece of tissue paper. By Mickey Alice Kwapis. Photo courtesy of Mickey Alice Kwapis.
The Hockley Pendant, British Museum: 2012,8046.1, English, c.1500-1550, gold, 3x25mm. Portable Antiquities Scheme (PAS): ESS-2C4836. The engravings on this hollow pendant depict devotion to the bleeding wounds of Christ. Its edges are inscribed with the names of the three magi, which were recited or used in magical charms. This pendant was found to contain unprocessed flax stem pieces. It was recovered near Hockley, Essex.
Mickey Alice Kwapis is an American artist living in Chicago who specialises in the creation of jewellery, stained glass, taxidermy, and cyanotypes. Her work explores aspects of death, grief, and the natural world. As part of her practice she makes tiny precious lockets, which can be used to contain almost any kind of meaningful material for her clients, who send or provide her with these fragments from their lives. She has kindly agreed to answer some questions I have posed to her in Q&A format regarding her locket pendants. While we cannot query the original makers of medieval objects, her thoughts on her own work provide a useful point of entry for thinking about the enduring and very human act of curating meaningful material, and the desire to carry and wear these things on the body within objects of jewellery.
Q&A:
What first inspired you to begin making pendants that serve as containers for meaningfulmaterial(s)?
When I was 22 my Aunt Beth passed away unexpectedly. I had already been making jewellery using glass vessels containing things like squirrel teeth, mouse tails, and dandelion seeds so as the funeral services were wrapping up it just felt natural to grab a few different flowers to dry for eventual use in my work. I ended up making a locket for each of the women in our family so they could have something to hold onto.
Are you interested in, or have you looked to historical examples for inspiration for making this kind of object? If so, do you have a favourite historical piece, period, or influence?
I really enjoy looking at Edwardian and Victorian-era mourning jewellery, mostly containing hair, on eBay. They aren’t hugely historically significant pieces on their own, but each one was handcrafted to celebrate someone’s love, life, or both and I think that’s incredibly beautiful. I grew up Catholic so I’m fascinated by stationary and wearable reliquaries. As a kid I loved learning about the Ancient Egyptians’ mourning and burial rituals including canopic jars. The influence of Egyptian art on the Victorians especially, and now the revival of the Victorian mourning tradition in modern times, follow a thread through human history of wanting to remember those we have lost through preserving them in some tangible way.
What are some of the materials, common or unusual, that people have sent you to be included in pendants?
Most commonly I receive orders for memorial jewellery made with cremated remains, pet hair, and human hair — after all, they’re literally parts of our loved ones so they are obvious choices when it comes to honouring their lives. Some of the less traditional materials I have gotten to use in mourning lockets include broken Fiestaware, a drop of blood on tissue, dyed eggshells from Easter eggs, the bristles of a paintbrush, pottery glaze powder, and a plethora of other incredible materials truly unique to those being remembered. I have helped women celebrate their friendship with a matching set of lockets with sugar from their favourite diner, made pieces for brides containing pieces of their bouquets and lost sequins from their dresses, and honoured hardships with soil reliquaries from sold family homes and pieces of brick from a house fire. Getting to make each one is an honour beyond words.
What are the key steps that go into crafting these lockets, and what are some challenges that this medium presents? What skills as an artist do you draw on?
The hardware for each locket is made using the lost wax casting process and once finished, the materials are secured beneath precision-fit watch crystals that I had specially manufactured to fit my lockets. I took my first metalsmithing class at 14 and have just been building on that skill set ever since so it feels like second nature at this point. When it comes to handling each client’s materials, some require special PPE — especially powdered materials like pigments.
Do you have a memorable or surprising background story or narrative that someone has shared with you about why they have chosen a certain material for inclusion in a locket?
I love the stories behind every single request I get, because the stories are just as personal as the materials being used. Many of them are bittersweet so I’ll share one that’s not: I received an order for a locket containing sand, for an Egyptologist who had recently returned from an archaeological dig. She didn’t bring the sand home on purpose (as it’s highly frowned upon to take materials from dig sites) but it’s impossible to live in a tent in the desert for weeks at a time and not track at least a little bit of sand everywhere you go. Once she was back home in the US, she found sand inside the lining of her suitcase while unpacking and decided to send it my way.
Have you made lockets for your personal use and ownership, and are you comfortable sharing what these are and what they mean to you?
The first ones I made were in memory of my Aunt Beth, with flowers from her funeral. After my Great-Grandma Mickey passed in 2020 I made myself a locket containing soil and sand from three different places on Belle Isle, an island park in Detroit where we spent lots of time in our respective formative years as well as time together. Not too long after, I dropped a mug that had belonged to my Uncle John, who died by suicide but is still listed as a missing person — there was no funeral, no body to say goodbye to. I had the mug repaired using traditional kintsugi practices but the artist did not need the smallest shards of ceramic that broke off and I couldn’t bear to throw them away so I kept them and made a locket with that. I also have lockets containing a fossil my mom found on the beach, and one with a tiny gummy bear that reminds me of my dad, fishing flies and raw sapphires from a trip to Montana I took with a friend. My beloved cat Phil just passed away and I plan to make a locket with his soft orange fur under one lens and his white fur under the other. When you see me in public, I make jingling noises from my jewellery. I’m basically a walking advertisement for my work at this point.
The lockets that you produce are visually accessible, but intended to remain sealed. This is in contrast to the other forms of lockets both contemporary and historical. What led to this choice?
Many modern jewellery makers utilize epoxy resin to contain materials like hair or ash, but it is a relatively new technology. This material can begin to yellow quite quickly and it also permanently alters the sentimental material, making it unrecoverable. My lockets, through sealed closed, function as containers for the free-moving materials inside and in theory could be smashed or cut open to recover the materials should the owner ever wish to do something else with them.
Ash and tooth in sterling silver. By Mickey Alice Kwapis. Photo Courtesy of Mickey Alice Kwapis
How do you understand the role of memory and its connection to material in your work?
Our memories of the past are a big part of what informs who we become in the present day, and the people or things we have lost or experienced along the way are also part of us. Having a piece of memorial jewelry that can be worn day-to-day helps remove our lost memories from the abstract and brings them into the present in a tangible form.
Hundreds of years from now if an archaeologist, museum, or curious collector were to find one of your lockets what is something you would want to tell them about your work to help them understand it?
Humans across millennia have collected and saved sentimental things, and I would hope that centuries or millennia from now we are not so disconnected from each other and ourselves that we can’t recognize the merit of a sentimental object. I think if anyone knew the back story of any single one of my pieces, from the history of the material itself to its meaning and impact on the person who commissioned it, the archaeologist would have the same feeling that I get making my work and looking at it now. After all, memory is something that ties all of us together.
Agnus Dei Pendant, English, c.1400-1540, gilt silver, PAS: GLO-43B24A. This pendant was found to contain, ‘fragments of a woven fabric’ and ‘thick layers of fine white strands that are most likely hair’. There is evidence for a broken-off attachment loop on the upper edge. Recovered in Gloucestershire. Rights Holder: Bristol City Council, https://creativecommons.org/licenses/by/2.0/.
Links to the website and work of Mickey Alice Kwapis:
Croasdaile, Caroline, 2025, Wearable Containers of Meaningful Things: English Late Medieval and Early Modern Jewellery to Enclose, Conceal, and Enshrine, Oxford: University of Oxford (D.Phil. Thesis, forthcoming)
Further Reading:
Cherry, John, 1994, The Middleham Jewel and Ring, York: Yorkshire Museum.
Husband, Timothy B., 1992, ‘The Winteringham Tau Cross and Ignis Sacer’, The Metropolitan Museum of Art Journal, vol. 27, pp. 19-35.
Jones, Peter Murray and Lea T. Olsan, 2000, ‘Middleham Jewel: Ritual, Power, and Devotion’, Viator, vol. 31, pp. 249-290.
Medieval Studies at Oxford is a venerable and traditional sort of enterprise. We’re used to working with the Bodleian’s centuries-old manuscripts and its worthy, weighty tomes. But how to communicate our expertise in our areas of interest to a wider audience – and, indeed, to each other?
We on the OMS steering group would like to encourage all of you within our community to consider writing for us here on our blog. The OMS website exists to help us learn about the exciting research going on all around the collegiate University, as well as to bridge the gap between scholarship and public engagement.
Blogposts offer a unique platform to distil complex concepts into accessible, attention-grabbing pieces. They can showcase ongoing research, spark discussions, and even attract potential collaborators (or students) to the field. Their immediacy allows us to reach busy colleagues, to break down our proverbial ivory tower, and to respond swiftly to current events (for instance, by drawing parallels between medieval history and contemporary issues).
Writing for OMS can also be a springboard to wider engagement or to pitches to external websites and media publications such as The Conversation.
Please get in touch to pitch your research and your ideas so that we can grow interest in our discipline and strengthen the links within it. The rest of this post sets out some ‘dos and don’ts’ for blog-posting – and, indeed, other public writing. We hope you will find them useful as you articulate your passion for all things medieval. It would be our pleasure to put that passion into print.
Pitching:
The pitch for any piece of public writing needs to be brief and arresting. It should grab the editor’s attention. They need to see the point, and the relevance, immediately. Find the hook. Do you want to write about this subject because it is timeless or topical? Has something happened in the world that your medieval expertise can speak to? Why is your work fascinating for educated readers, or important for the advancement of knowledge or debate as a whole?
200 words is always plenty.
Writing:
Blogposts need to be written differently from academic prose. They can be far less formal (colloquialisms and first-person speech allowed). They need a simpler readable style. Short sentences are your friend – but so too are more nuanced, complex ones, interspersed amongst them. Avoid excessive jargon and technical terms. However, don’t underestimate you readers either (many of them will be studying, or have studied, at Oxford!). Signal aims and objectives clearly in the introduction. Give concrete examples to illustrate your points. Write a conclusion with a twist.
Titles and subheadings:
Breaking up your text is always hugely helpful to readers, even in a post as short as 800 words. We all have such short attention spans these days. Titles and subheadings need to be intriguing, to draw a potential reader in. But they also need to be informative: where is this piece going? Rhetorical questions can be useful, so long as they are not overdone. A good editor will help you bring out substance even as you polish the style.
Images:
A picture can speak a thousand words. Make sure you include at least a feature image for your post’s header. However, two or three within the blogpost’s body will almost always make it better. Remember to have reproduction permissions for images that have copyright, and to caption and credit all images accurately.
Word Count:
Oxford Medieval Studies is interested in posts between 800 and 1,500 words in length. Any shorter and you will have hardly had space to develop your thesis. Any longer and you are halfway towards that elusive academic article. As with those famed five-minute ‘elevator pitches’, less can be more when you’re trying to get yourself across.
Image: Late 15th-century miniature of the author and translator Jean Miélot (d. 1472), Bibliothèque Nationale de France.
The Oxford Medieval Manuscripts Group (OMMG) is a collective of eight postgraduate students and early-career researchers who bonded in Oxford over their passion for medieval manuscripts. We host a seminar series through which we hope to gather a community of emerging scholars, from the University of Oxford and beyond, around the study of medieval books and the art of illumination.
Starting in Hilary Term 2024, OMMG seminars will take place twice monthly on Friday afternoons. We will discuss the most exciting recent research; share our own projects and ideas in a supportive environment; learn from lectures and tutorials given by experienced colleagues; and examine medieval manuscripts together during library visits.
By promoting exchange between scholars with diverse specialisms and different levels of experience, OMMG aims to turn the study of medieval books and illuminations into a more collaborative pursuit. We know that working with manuscripts is often a solitary business, where knowledge is acquired over silent and cautious one-on-one meetings with a delicate object. We want to share the wonder we experience before the material, visual and textual complexity of illuminated codices, as well as the interrogations or frustrations we have as we encounter obstacles in our research. The OMMG seminar series will provide manuscript enthusiasts with a stimulating platform for learning practical and analytical skills from peers as well as experts. We would love you to join us!
To subscribe to our mailing list, participate in library visits, propose a presentation of your research for work-in-progress meetings, or submit any queries, please write to: Elena Lichmanova.
Programme for MT 2024 (Fridays, 5pm, Merton College)
Week 1 (18 Oct, 3pm, Weston Library) Andrew Honey | Bodleian Library: Cataloguing Medieval Bookbindings at the Bodleian: Manuscripts from Reading Abbey as a case study. Limited places, write to the email below by 16/10/2024
Week 3 Work in Progress Meeting Hawkins Room 1 November We are still accepting applications. If you would like to present your work in progress and receive our feedback, write to the email above by 28/10/2024
Week 4 Reading Group: Audience and the Senses 8 November K. Rudy, ‘Introduction’, Touching Parchment: How Medieval ONLINE Users Rubbed, Handled, and Kissed Their Manuscripts (vol. 2, 2024) Write to the email E. Duffy, ‘Ch. 1. A Book for Lay People’, Marking the Hours: above to joinEnglish People and Their Prayers, 1240-1570 (2008)
Week 5 The New College Library Visit 15 November Study and Discussion of Illuminated Manuscripts Limited places, write to the email above by 8/11/2024
Week 7 Eleanor Jackson | British Library 29 November Medieval Women in Their Own Words: Mure Room Curating the British Library Exhibition
Week 9 Bonus: Casual trip to see the ‘Medieval Women in Their 14 December Own Words’ exhibition at the British Library together Saturday noon Write to the email above to join
About Us
Irina Boeru is a third-year DPhil student with a background in Medieval and Modern Languages and Medieval Studies. Her research analyses travel narratives in French and Latin illuminated manuscripts, specifically chronicles of the fifteenth-century conquest of the Canary Islands.
Fergus Bovill graduated with a BA in History of Art from the University of York. He is currently pursuing an MSt in Medieval Studies, with a dissertation on the assemblage of medieval manuscript cuttings into albums by nineteenth-century bibliophiles and connoisseurs.
Charly Driscoll completed an MSc in Book History and Material Culture at the University of Edinburgh and is now studying for a DPhil in Medieval English. Her project investigates how the material features of medieval manuscripts reveal their individual histories.
Elena Lichmanova is a third-year DPhil student with a background in History of Art and Medieval Studies. Her research examines the origins and early history of marginalia in medieval manuscripts, focusing on illuminated English Psalters of the thirteenth century.
Mathilde Mioche completed an MSt in History of Art and Visual Culture with a dissertation on illuminated Insular Gospels. She is currently preparing a doctoral project on the formal and medial mutations of the Dance of Death since its emergence in the fifteenth century.
Ana de Oliveira Dias is a historian of early medieval visual and intellectual culture with a specialisation in manuscript studies. She received a PhD in Medieval History from Durham University in 2019 and is now a Postdoctoral Research Associate in the project Crafting Documents, c. 500—c. 800 CE at the University of Oxford.
Celeste Pan is a third-year DPhil student with a background in English and Medieval Studies. Her research considers the production of illuminated Hebrew manuscripts in medieval northern Europe, specifically a group of liturgical Bibles from the Rheno-Mosan region.
Klara Zhao is a first-year MPhil student in Egyptology preparing a dissertation inspired by Umberto Eco’s Infinity of Lists. She developed a special interest in medieval French poetry during her BA in French and Linguistics, which she continues to nurture.
Explanation of the result of the inspection of a sheep liver in the Old Library of St Edmund Hall. Dr Selena Wisnom (Leicester) researches ancient Mesopotamian divination, and asks the question: Will Donald Trump win the 2024 US election?
You can watch the inspection in this video:
Inspection of the sheep’s liver in the kitchen of The Queen’s College, Oxford
Explanation of the results in the Old Library of St Edmund Hall, Oxford
and you can watch the alternative Babylonian reading in this video:
Alternative reading of the result
Disclaimer: the extispicy is for entertainment and research purposes only!
Dr Wisnom held a Junior Research Fellowship in Manuscripts and Text Cultures at The Queen’s College, Oxford from 2016-2020 and is currently Lecturer in the Heritage of the Middle East at the University of Leicester.
The long wait is over! We are extremely excited to finally present a complete video recording of the Old Norse eddic poem Vǫluspá (The Seeress’s Prophecy) by Clare Mulley:
This was the premiere performance of Vǫluspá by Clare Mulley, which took place at The Oxford Story Museum, in honour of the third Old Norse Poetry and Performance Conference (Oxford, June 2023). This was later followed by a repeat performance at The Aarhus Old Norse Mythology Conference (November 2023), and both performances have since aided and inspired other exciting projects by scholars and artists alike. This is just the beginning of a larger exciting project, so keep your eyes peeled for more!
Professor Terry Gunnell of the University of Iceland wrote of this performance, “Clare Mulley’s Vǫluspá is a multi-dimensional work of art that steps off the page to touch the lives of its twenty-first century audiences. Based around a new, creative, free translation of the original Old Nordic work, and effectively given additional depth by the atmospheric musical of Kjell Bråten, Mulley’s powerful presentation returns the poem to its original conception as a piece of essentially oral poetry, something designed to perform in both space and time. Like the original, which it builds on while retaining creative freedom, the translation is couched in striking musical, alliterative language and rhythm, evoking stark images of the original creation and eventual destruction of the world. Firmly touching the ancestral past of the ancient work, this is a presentation that simultaneously effectively draws on the present. It is something that needs to be experienced.”
The performance features soundscapes, backing vocals, accompaniment and sound recordings by musician Kjell Braaten.
It was filmed by Natascha Domeisen and edited by Ashley Castelino, with the support of Oxford Medieval Studies (OMS) and The Oxford Research Centre in the Humanities (TORCH).
A Year in the Life of the OMS Communications Officer and MSt Academic Mentor
As we come to the end of the teaching year and Medieval Matters shuts down for the summer, I was asked to reflect on the year’s happenings, and on some of the work that I do in my role as Communications Officer and my twinned role as the Academic Mentor for the Interdisciplinary MSt in Medieval Studies. As such, I’ve compiled a “menologium” of sorts, highlighting the goings on that have happened across the year. This has been my third year in post since I joined the team in 2021, and it’s been such a delight to see Oxford’s medieval community go from strength to strength during that time. In some ways, then, this report is less about my own work, and more about the strength of the community: which I have been honoured and privileged to witness first hand as your medieval herald and mentor!
JULY
July is the month of beginnings! This might seem odd: Trinity Term is traditionally an end-point for the academic year! But July is the point at which we at OMS are planning forward for the year ahead, and so marks the beginning of the OMS calendar. This is the time of year when we begin planning the Medieval Mystery Plays, thinking about which speakers we will invite and which events we want to host in the year ahead. It’s a very exciting time of year! In 2023, we were planning our OMS lectures and also asking for submissions for the Impact Report.
AUGUST
August is a time for harvesting… submissions for the Impact Report, that is! We had such a lot to celebrate, from book launches to new seminars and reading groups. I am always struck by the phenomenal range of our medieval offerings at Oxford, but collecting all of the information together really emphasised the wealth of languages, approaches and disciplines that we have here.
I was also busy ‘harvesting’ CFPs for a special summer CFP booklet. We had 20 pages of CFPs for Leeds IMC, New Chaucer Society, and Kalamazoo panels hosted by Oxford Medievalists: such an astounding range of submissions that they barely fit in a pdf! We had everything from Alfredian Voices to Medievalisms in Times of Crisis: Reception, Adaptation, and Remediation; from “Authentic” Translation?’ to Medieval Onomastics: Crisis or Stasis?
SEPTEMBER
September is the month of preparation! This is the month when I am busy assembling the Medieval Booklet for the term ahead. Of extreme importance, of course, is selecting which manuscript will illuminate the weekly newsletter. This year I opted to highlight one of the offerings at St John’s College, where I am currently appointed. The newly digitised MS 61 bestiary is both delightful to look at and a real testament to the ongoing work of our library and collections staff in making medieval resources more easily available. Special thanks to Sophie Bacchus-Waterman for giving as a sneak peek behind the curtain of archival work in her blog post for us! When choosing images for the emails, I am looking both for entertaining pictures and for those that might be particularly suited to points in the year, and collecting a folder of them for later use. Some of the images are chosen far in advance (like this week 1 image of a Medievalist with their copy of the booklet), whilst others take my fancy on a weekly basis.
Regular recipients of Medieval Matters will know that another important collection is the wisdom quotations. This year I decided to highlight the work of the Epistolae project, based at Columbia University, which catalogues letters to and from medieval women. Featuring quotations from these letters was intended not only to link Oxford’s medievalists to an exciting resource outside of Oxford, but also to provide an inspirational and aspirational model for interdisciplinary, boundary-pushing, open-access and digital humanities work.
September is also the time when we look ahead to our incoming MSt cohort, so we were putting together welcome events and looking ahead to the start of term! An important September task is updating our mailing list: making sure that incoming students and academics are included, and that those leaving us for pastures new have passed on their new details.
OCTOBER
October is the month of welcomes. For the MSt this year this took the shape of the traditional introductory tea, co-run with Prof. Elena Lombardi, the convener of the MSt. It’s so exciting to get to meet all of Oxford’s newest Medieval researchers, and I am always struck by the fantastic range of interests and the sheer passion for the medieval that our MSt students have. On the OMS side, we had a Medievalists’ welcome party co-run with the Medieval Church and Culture graduate seminar: it was lovely to see lots of you there, both old colleagues and new ones! This is also a time of year when my email inbox is particularly busy, as I am fielding questions from both the OMS and MSt side of things in order to make sure that everyone can find their way around the Oxford system. I’m so honoured to be many peoples’ first port of call for discovering the amazing range of medieval happenings at Oxford, and to be able to welcome everyone in our Week 1 Medieval Matters email!
A big part of my October job is making and distributing the term’s medieval booklet, and preparing the newsletter templates This is a big job, and I’ve been extremely grateful for the support of our Graduate Assistant, Eugenia Vorobeva, who has taken on the huge and important task of adding all of the upcoming events to our Google Calendar, to keep everyone informed and up to date.
NOVEMBER
November is a month of social activity. A big part of what we do at OMS is sharing Oxford’s research and community with the wider world. In this I’ve been ably assisted by Ashley Castelino, our Social Media Officer, who has done stellar work on our socials. Some stats for you: our social media following is steadily growing as always, with (at last count) 6396 followers on Twitter/X, 1531 on Facebook, 858 on Instagram, 577 on Mastodon, 202 on Threads, 320 on TikTok, and 80 on our new LinkedIn page. Our most popular video on TikTok so far has been a primer on medieval heralds by Emma-Catherine Wilson with over 2800 views. We also had some very pleasing numbers on the youtube channel. In particular the two live presentations of books / manuscripts from the study day on Homer and the Nibelungenlied have each drawn over 1,500 views by now! The subscriber base also has grown considerably to 427 subscribers. with 17.383 viewings between them.
There is so much going on at Oxford socially that it’s hard to keep up: any medievalist is spoilt for choice! Having reviewed the booklets from the last year, I count regular events working on at least nine languages:
English
German
French
Latin
Anglo-Norman
Norse
Celtic
Old Occitan
Medieval Hebrew
And a huge range of approaches, including:
Queer and Trans Medievalisms
Visual Culture
Environmental History
Digital Editions
Music
Women’s Writing
The fact that I am guaranteed to have overlooked at least two or three regular languages and could only provide a selection of our range of approaches is testament to the richness of our medieval community. But with so much going on, it’s very hard to keep track!
This is where my job as herald comes in. I usually prepare the outlines for each week’s newsletter at the beginning of term, but there are last minute additions, changes, or cancellations every week. So my Monday morning task every week is to sort through my emails to find anything that needs to be added or altered in the draft blog. I am often alerted for example, to new opportunities, or events that have been newly organised; to seminars changing their paper titles or rooms; or just to a good old fashioned cancellation! When I have made all of the changes, the post then passes to my colleague Henrike Lähnemann for review before finally making its way to your inbox. Any medievalist knows that no text would be complete without a set of errata, addenda or corrigenda, so of course I monitor my emails throughout Monday afternoon in order to send out any last minute changes in as few additional emails as possible. It’s busy work, but after three years in post it has become more streamlined, and it’s lovely to come into my office on Monday mornings and know exactly what I’m working on first!
DECEMBER
December is the month of holidays: a time of celebrating and community. Though the days were dark and cold, luckily we had lots to keep our spirits high! In particular we benefited from the medievalists coffee mornings and from the fantastic opening of the Chaucer: Here and Now exhibition!
This is also a time when many of our MSt students are looking at PhD / DPhil programmes. One of my main roles in December as an Academic Mentor is to support students in preparing doctoral applications. I was delighted to host a number of our students for tea at my college to discuss their progress and their career plans – the future of our field looks very bright indeed!
JANUARY
January is the month of new things. In 2023-24, we saw the establishment of several new and exciting additions to OMS. In particular we welcomed the new Dante Reading group, which successfully secured OMS small-grants funding, and convened by one of our very own MSt students, Charlie West. We were also exciting to welcome a new research group, The Oxford Medieval Manuscripts Group (OMMG), a collective of eight of our postgraduate students and early-career researchers who bonded in Oxford over their passion for medieval manuscripts. We also welcomed a new TORCH funded network, Poetry in the Medieval World, lead by Ugo Mondini, Jennifer Guest, Dirk Meyer, Jim Mallinson and Ida Toth. All of these new groups show that even though we often work with dead languages or the distant past, the study of the middle ages is very much alive at Oxford, with new voices and approaches joining the conversation every year!
January is also, of course, the month of our Hilary Term Medieval Booklet, so I am busy assembling that – making sure that everyone’s submissions are received and that they are formatted with our standard font size, layout etc. and are passed on to Eugenia and Ashley to disseminate across our socials and our Google calendar.
March is the month of the OMS Hilary Term lecture! This year we were thrilled to host the distinguished historian of medicine, Peregrine Horden for a talk on ‘Healthy Crusading in the Age of Frederick II: The Puzzle of Adam of Cremona’. We were very fortunate to host this in the Chapel of Harris Manchester – a perfect medievalism space! Thank you so much to everyone who came along, and to Peregrine for such a fantastic talk.
This is also the month when we at OMS try to have a steering group meeting to work out plans for the future: in particular on connections outside of Oxford, and thinking about new events we can run. We were also making plans for our Trinity Term provision.
APRIL
April (with his shoures soote) is the month of new life and of piercing ‘the droghte of March … to the roote’, so a perfect time to celebrate our newest medievalists!
In April all of our MSt students are hard at work producing their dissertations, and every year those on the Medieval Studies MSt present their work at the Medieval Church and Culture Seminar. This year we had a fantastic range of papers, from ‘The Old English and Old Norse ‘Joshua’: translation and readership in context’ to ‘Envisioning Division: marginal medallions in medieval Judaic and Islamic manuscripts’ to ‘Cruising Hell: seeing and writing Dante’s sodomites’. I am always so inspired by the range of approaches and the interdisciplinarity coming out of this MSt programme.
April also marks the Oxford Medieval Graduate Conference, which this year took the theme of Signs and Scripts. For a write-up of the conference and its goings-on, and to be inspired by the newest generation of medievalists, do read Ashley Castelino’s review blog post.
April is the month of the Trinity Term Medieval Booklet, so at this time of year I am once again collecting submissions, formatting them, and getting ready to share them with our community across all channels!
This year we were also busy plotting ways to improve our blog and newsletter, resulting in the move of our WordPress server on May 16th to enable us to host plenty more medieval blog posts and images. Behind the scenes OMS was struggling with server space, meaning a rationing of images and reduction in the number of blog posts we could host. Luckily we have been saved by St Edmund Hall, who have so kindly agreed to host this blog and allow it to continue in all of its manuscript-illuminated glory. Floreat Aula!
JUNE
June heralds the end of a busy medievalist year! As seminars and reading groups start to wind down for the summer, the Medieval Matters Newsletter starts to look shorter and shorter. Our MSt students are all busy finalising their dissertations, so I rarely get to see them, but it’s always a delight to hear how they are getting on. As the end of the academic year, June is a time for goodbyes, as visiting academics and graduate students depart. Thus, my final work of the year is to remind everyone to stay in touch: once an Oxford Medievalist, always an Oxford Medievalist!
[Workers rebuild Troy, in a copy of John Lydgate’s Troy Book: Manchester, John Rylands Library, MS Eng 1, f. 31v. Reproduced under a Creative Commons licence, CC-BY-NC 4.0.]
For most people, poetry in Middle English—roughly 1100 to 1500—is a world unknown. I’d long thought this a shame, but it was only through shaping How to Read Middle English Poetry as an accessible guide for students that I grasped just how innovative and thrilling the period in truth is.
Did you know, for instance, that someone unwittingly wrote a Shakespearean sonnet more than a century before Shakespeare’s birth? Or that the first poem we can attribute to a named woman displays a unique and startlingly intricate form? And while we think of English blank verse—metrically-regular poetry without regular rhyme or alliteration—as the mainstay of things like early-modern drama and Paradise Lost, the idea occurred to poets at least twice, independently, before the third (re)invention that started its sixteenth-century flourishing. Such facts lurk in the Middle English centuries, making these in some ways the most exciting spell in English poetry’s history.
What made this period so experimental?
For centuries after the Norman conquest of England in 1066, French stuck around as another spoken language alongside English—and a spoken language with more cachet. Latin, meanwhile, filled the role of the normative written language, often coming baked-in with literacy: those who learned to read learned to read in Latin, other literacies coming as a kind of by-product.
Consequently, English lacked the reach of a prestigious tongue, but it also lacked prestige’s pressures. Several poetic traditions coexisted in English, without a clear hierarchy of prestige sorting them: it would, after all, always seem more elevated to write in Latin or French. As a result, this was the great age of experiment in English poetry.
It is in this period that we first see English poetry in alternating metres descended from post-classical Latin and early French. These metres are the ancestors of most regular verse of the sixteenth to nineteenth centuries. This was the metrical family in which Chaucer worked; within it, he invented the five-beat line that would one day propel poetry from Thomas Wyatt to Elizabeth Barrett Browning, not to mention the plays of Shakespeare, Marlowe, and Jonson.
At the same time, Middle English sustained a separate metrical family of poems descended from Old English verse habits: alliterative verse. Though somewhat changed from the Old English model, the verse of Piers Plowman, (most of) Sir Gawain and the Green Knight, and of the Alliterative Morte Arthure recognisably sits within English’s original and longest-lasting verse tradition. Such poems have a formal lineage which runs back before English was English. Also in this bucket lurks Layamon or Lawman, whose curious early Middle English Brut provokes expert debate over its classification, and offers the earliest known tales in English of King Arthur and King Lear.
Neither alternating verse nor alliterative verse held a place of straightforward prestige, distinguished from other poetry. The Gawain stanza switches between the two, showing us a poet comfortable shuttling across metrical lineages. Moreover, mixing traditions brought forth a third body of work, alliterative-stanzaic poetry, which married alliterating half-lines in alliterative metre to end-rhyme, often together with a fireworks display of other effects. One example, today known as ‘Three Dead Kings’ and preserved uniquely in the Bodleian, has a claim to the title of the most complex stanza-form in English at any time.
[The start of ‘Three Dead Kings’, Oxford, Bodleian Library, MS Douce 302, f. 34r.]
In the sixteenth century and after, rising five-beat alternating lines—‘iambic pentameter’—would ascend to prestige as a standard form for art poetry. Through the same centuries, English slowly took over from Latin and French in the worlds of academia, government, religion, and the law. Today, English is a global language, and is the world’s most frequently learned tongue. For some contexts, it has come to hold the kind of roles that French and Latin once held in England: a prestige language, a source of loanwords and models.
In the twenty-first century, then, we might learn a few things by delving into the middle of English’s history, the language’s time of least social importance: Middle English teaches us to see how English is not a transparent default, but a tongue alongside others; it teaches us to appreciate the quirks in English, and in the other languages we meet. And often it is Middle English poetry that offers this lesson most clearly, while also forming a wildly creative and varied body of work in its own right.
