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Seeta Chaganti, inscribed objects
‘the paradigmatic experience of written language for most people in early medieval England’
Seeta Chaganti, contemporary readings
‘we cannot read the poem or the poetic tradition without considering runes, ritual, stone, and metal.’
Seeta Chaganti, 3 versions of Dream
‘containing vestiges of one another, each existing both inside and outside the time of the others’
Emily Thornbury, 3 versions of Dream
not forced to choose a ‘real’ version, instead each distinctive instance expands the poem’s capacity for meaning
Emily Thornbury, succession
‘For each person, the real poem would have been the emergent knowledge produced by a succession of encounters’
Emily Thornbury, Brussels Cross prosopopoeia
‘words and object give each other meaning’
Christopher Cannon, if the body contains something
‘every person lives in an enclosure’
Christopher Cannon, very fragile
distinction between inside and outside
Christopher Cannon, Ancrene Wisse mixing of inner and outer temptations in Book 4
the author ‘finds the boundaries of the body impossible to maintain’
Christopher Cannon, anchoritic devotion
‘recognizes that the body is a construct in its very demand for enclosure’
Christopher Cannon, enclosure as a tool
‘for securing that body’s imaginative boundaries’
Ruth Evans, misogynistic view of women
as dirt - virginity’s obsession with purity linked to clerical anxieties about pollution
Ruth Evans, virginity as a battle
‘a war against the flesh that they overcome through virtue’
Ruth Evans, Ancrene Wisse fragile vessel/liquid metaphor
struggles to maintain inner/outer boundary, ‘liquidity suggests a problematic overflowing rather than the potential for containment’
Robert E. Bjork, exile as a societal tradition
clung to to affirm the Anglo-Saxon world
Robert E. Bjork, wise man sitting ‘sundor aet rune’
deliberately rejecting the entire social structure that has given rise to his pain
Robert E. Bjork, psychological
The Wanderer has to do with the mind or processes of mind
Mitchell and Robinson, land and flesh parallel
seafarer renouncing the pleasures of life on land analogous with devout Christian renouncing the pleasures of the flesh
James Naz (drawing on Sarah Kay), symbolic materiality of parchments
stitched wounds, unstitched worm holes, treelike veins - violent processes to make parchment linked to tortures endured by protagonists
James Naz, thingness/thing-power
‘thing-power’ of Ruthwell cross means it resists easy unification with the poem
Leonard Neidor, multiple authorship
questions of authorship should be disentangled from questions of literary merit