Women Artists, Recognition and Reappraisal from the Early Middle Ages to the Twentieth Century. Karen Peterson , J.J. Wilson

1976 ◽  
Vol 5 (1) ◽  
pp. 25-25
Author(s):  
Susan E. Wyngaard
Keyword(s):  
Twentieth Century ◽  
Middle Ages ◽  
Women Artists ◽  
Early Middle Ages

Poet of the Medieval Modern

2021 ◽  
Author(s):  
Francesca Brooks
Keyword(s):  
Twentieth Century ◽  
Material Culture ◽  
Middle Ages ◽  
Early Medieval ◽  
Far Right ◽  
Early Middle Ages ◽  
History Of ◽  
Catholic History ◽  
In Parenthesis ◽  
Stone Sculpture

The early Middle Ages provided twentieth-century poets with the material to reimagine and rework local, religious, and national identities in their writing. Poet of the Medieval Modern focuses on a key figure within this tradition, the Anglo-Welsh poet and artist David Jones (1895–1974), and represents the first extended study of the influence of early medieval culture and history from England on Jones and his novel-length late modernist poem The Anathemata (1952). The Anathemata, the second major poetic project after In Parenthesis (1937), fuses Jones’s visual and verbal arts to write a Catholic history of Britain as told through the history of man-as-artist. Drawing on unpublished archival material including manuscripts, sketches, correspondence, and, most significantly, the marginalia from David Jones’s Library, Poet of the Medieval Modern reads with Jones in order to trouble the distinction we make between poetry and scholarship. Placing this underappreciated figure firmly at the centre of new developments in modernist and medieval studies, Poet of the Medieval Modern brings the two fields into dialogue and argues that Jones uses the textual and material culture of the early Middle Ages—including Old English prose and poetry, Anglo-Latin hagiography, early medieval stone sculpture, manuscripts, and historiography—to re-envision British Catholic identity in the twentieth-century long poem. In The Anathemata Jones returned to the English record to seek out those moments where the histories of the Welsh had been elided or erased. At a time when the Middle Ages are increasingly weaponized in far-right and nationalist political discourse, the book offers a timely discussion of how the early medieval past has been resourced to both shore up and challenge English hegemonies across modern British culture.

Scottish Power Centres from the Early Middle Ages to the Twentieth Century

1999 ◽  
Vol 31 (4) ◽  
pp. 706
Author(s):  
Alan R. MacDonald ◽  
Sally Foster ◽  
Allan MacInnes ◽  
Ranald MacInnes
Keyword(s):  
Twentieth Century ◽  
Middle Ages ◽  
Early Middle Ages

Climatic change and foresight in agriculture: the possibilities of long-term weather advice

1973 ◽  
Vol 7 (5) ◽  
pp. 203-210 ◽  
Author(s):  
H H Lamb
Keyword(s):  
Twentieth Century ◽  
Seventeenth Century ◽  
Climatic Change ◽  
Middle Ages ◽  
Growing Season ◽  
Early Middle Ages ◽  
Dry Areas ◽  
Westerly Winds ◽  
Nw Europe

Long-term weather analysis indicates a shortening of the average growing season in NW Europe from the early Middle Ages to the seventeenth century, followed by a lengthening to the mid-twentieth century, but this trend now appears to have reversed. On a world scale, wet areas exposed to prevailing westerly winds became wetter, and dry areas became drier in the first half of the twentieth century. The implications of these changes for agriculture are considerable.

Atypical Burials in Early Medieval Poland

2020 ◽  
pp. 246-275
Author(s):  
Leszek Gardeła
Keyword(s):  
Twentieth Century ◽  
Middle Ages ◽  
Prone Position ◽  
Comparative Perspective ◽  
Early Medieval ◽  
Early Middle Ages ◽  
Scientific Institutions ◽  
The Dead ◽  
Archival Documentation ◽  
Critical Overview

Excavations at early medieval cemeteries in Poland often reveal traces of mortuary behavior which deviate considerably from the normative treatment of the dead. Most of these atypical practices involved interring the corpses in prone position, laying or throwing stones on them, or cutting their heads off, but other variants have also been recorded, e.g., covering the bodies with clay or piercing them with stakes and other sharp objects. Graves of this kind have always been difficult to interpret. In the early twentieth century, Polish scholars only mentioned them briefly in their publications, without offering any detailed commentary about their possible meanings, while in the 1970s, the problematic term “anti-vampire burials” was coined, implying that these were burials of vampires. This article provides a critical overview of past and present studies on atypical burials in Poland by drawing on the results of a research project entitled Bad Death in the Early Middle Ages: Atypical Burials from Poland in a Comparative Perspective. The discussion incorporates new and previously unpublished evidence and a reassessment of archival documentation kept in a range of Polish museums and scientific institutions, which challenges the previously accepted “vampire” interpretation and sophisticates our understanding of unusual funerary phenomena.

Introduction

2021 ◽  
pp. 1-34
Author(s):  
Francesca Brooks
Keyword(s):  
Twentieth Century ◽  
Middle Ages ◽  
Late Modernism ◽  
Anglo Saxon ◽  
Early Medieval ◽  
Early Middle Ages ◽  
History Of ◽  
Central Argument ◽  
Century Poetry ◽  
Changing Attitudes

The Introduction situates David Jones’s work as a poet–artist within the broader currents of high and late modernism, particularly within the context of a tradition of medievalism in twentieth-century poetry. It draws on Alexander Nagel’s conception of the medieval modern to show how Jones approaches the culture and history of the early Middle Ages as a form of live material open to play and adaptation. The Introduction also reframes our understanding of David Jones’s perception of himself as Anglo-Welsh in relation to changing attitudes to early medieval Welsh (Celtic) and English (Anglo-Saxon/Teutonic) history over the course of his lifetime. This discussion introduces the monograph’s central argument: as a poet of the medieval modern, Jones plays with and reworks early medieval English histories, narratives, and artefacts in order to challenge the singularity and exceptionalism of an ‘Anglo-Saxon’ canon.

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