Pub Date : 2020-10-01DOI: 10.1215/00138282-8558035
S. Yeager
Abstract:This essay describes a plan for Indigenizing medieval studies that has two elements. The first is an area of research inquiry, “The Global Far North, 500–1500 CE,” which moves past the written records of the Vinland sagas to privilege alternative forms of evidence about cultural contact in the defined period, particularly the oral traditional evidence of Indigenous communities. The project’s investigations will apply the emerging protocols for research ethics and for reciprocity with Indigenous communities, and they will aim to historicize and challenge settler notions of legality that rely on written documents. The essay concludes by arguing that teaching, service, and community outreach must be prioritized over publication as modes of professional activity more conducive to Indigenization’s political goals. Decolonizing medieval studies will require not only that we engage with Indigenous communities but also that we actively center their concerns and contributions at every step.
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Pub Date : 2020-10-01DOI: 10.1215/00138282-8557949
Sarah-Nelle Jackson
Abstract:This essay places Marie de France’s lai “Yonec” (ca. 1150–1200) and the anonymous Middle English romance King Horn (ca. 1250–1300) in conversation with critical Indigenous theories of relational, land-based sovereignty and resurgence. At first, “Yonec” and King Horn appear to reinscribe a Western form of sovereignty based on exclusive territorial control. Both works offer alternative models of sovereignty and self-determination, however, in their depictions of cooperative, lithic alliance between stone and female consorts. Adopting the term lithic sovereignty to describe the works’ relationbased sovereign imaginaries, this essay first follows the King Horn narrator’s depiction of Godhild’s hermetic retreat into stone when Saracens conquer her husband’s realm. Then it turns to the nameless lady of “Yonec” and her implausible escape from her jealous husband’s tower, facilitated by the very stone that had seemed to entrap her. Drawing on critical Indigenous studies, legal studies, and ecomaterialism, this essay concludes that both King Horn and “Yonec” offer a medieval British imaginary of lithic relational sovereignty that runs counter to teleological, naturalizing narratives of Euro-Western origins.
摘要：本文将Marie de France的lai“Yonec”（约1150–1200年）和匿名的中古英语浪漫小说《King Horn》（约1250–1300年）与关于关系、陆地主权和复兴的批判性土著理论进行了对话。起初，“约内克”和霍恩国王似乎重新确立了西方基于专属领土控制的主权形式。然而，这两部作品都提供了主权和自决的替代模式，描绘了石头和女性配偶之间的合作、石器时代的联盟。本文采用了“石器时代的主权”一词来描述作品中基于关系的主权想象，首先遵循了霍恩国王叙述者对萨拉森人征服她丈夫的王国时，戈德封闭地撤退到石头中的描述。然后，它转向了“Yonec”的无名女士，以及她难以置信地逃离了她嫉妒的丈夫的塔楼，而正是这块石头似乎困住了她。根据批判性的土著研究、法律研究和生态材料主义，本文得出结论，霍恩国王和“约内克”都提供了中世纪英国人对石器时代关系主权的想象，这与欧洲-西方起源的目的论、自然化叙事背道而驰。
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Pub Date : 2020-10-01DOI: 10.1215/00138282-8558046
Tarren Andrews, W. Cleaves
Abstract:In this interview Bitterroot Salish medievalist Tarren Andrews and Tongva medievalist Wallace Cleaves discuss the past, present, and future of medieval studies. Their conversation focuses on what it means and has meant to be a Native American scholar in the field of medieval studies, their hope and concerns for the Indigenous turn, and what interested them in medieval studies to begin with. Most important, Andrews and Cleaves discuss how their Native communities impact their medieval scholarship.
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Pub Date : 2020-10-01DOI: 10.1215/00138282-8721688
Charlotte Sussman
Hymns have always been part of Christian liturgy, expressing the faith in congregational song. The NZ hymnwriter of the late twentieth century writes within a secular society which increasingly questions the relevance of religion. This thesis examines and describes issues with which modern hymnwriters are confronted in the practice of their work, the intention being to produce a work of practical benefit to those using hymns in some way. The thesis begins with an historical overview of the ways hymnology has developed. From this background it is possible to ascertain a working definition of a hymn, and to discover how hymns have been used over the centuries to express certain theological points of view about the nature of the church, particularly as it relates to society as a whole. Hymns are a combination of doctrine and song. How words and music combine to form the complex experience of a hymn is discussed in Chapter two. Music has always been a contentious issue within the church for it brings the possibility of the "secular" into worship. Music style is an expression of a church's theology of church in the world. The choice of music as part of the experience of a hymn is a crucial issue. In a secular society, the charge of irrelevance is levelled at religion in general, and hymns in particular. Chapter Three discusses the meaning of "relevance" for hymnology. This is related to hermeneutics, liturgy, and tradition, with particular focus on Reader-Response Criticism as a tool for understanding the dynamics of the texts relationship to the reader/singer. The modern hymnwriter must overcome the conservatism of hymnbook collections. The quest for relevance and the exploration of new styles takes place largely outside the confines of hymnbooks. As liturgy is the milieu within which hymns are experienced and for which they are written, the thesis raises four questions by which to test the effectiveness of hymns in worship. During the writing of this thesis an issue arose several times which is more properly the province of religious sociology or theology; the way in which hymns express the power struggle between the "organisation" and the people. many music forms used in the church began as people's songs and dances, but church use has dampened the original liveliness of these forms. I have addressed this issue in passing without exploring it fully. Because I am a Methodist presbyter, there are times when my Methodist bias shows. I make no apology for that. The NZ context from which I write is also an important factor in the choosing of illustrative material. I have deliberately used With One Voice as a source book for most hymn quotations as it is used in many NZ churches and can therefore add to the practical nature of this work. The thesis is not a critique of With One Voice. Read More
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Pub Date : 2020-10-01DOI: 10.7551/mitpress/11931.003.0005
Gabriele Lazzari
A lthough the history of humanity is arguably the history of its global peregrinations, at no other time than today has migration so profoundly shaped our political imaginary and public discourse. AsAchilleMbembehaswritten, “Thegovernment of humanmobility might well be themost important problem to confront theworld during the first half of the 21st century.”1On the one hand, humanmobility and any attempt to regulate it depend on geopolitical variables, economic calculations, and international treaties. On the other, migration is an experience that requires, both for displaced groups and for host communities, a constant effort to reimagine social relations, affective investments, and modes of belonging. In this context, literature has the peculiar ability to register the entanglements of collective histories and political conditions with the individualized experience of migrants, often challenging the ethnonationalist discourses that pervade today’smediascape. Three recent essays on this topic—Nasia Anam’s “The Migrant as Colonist: Dystopia and Apocalypse in the Literature of Mass Migration,” Marissia Fragkou’s “Strange Homelands: Encountering the Migrant on the Contemporary Greek Stage,” and Dominic Thomas’s “The Aesthetics of Migration, Relationality, and the Sentimography of Globality”—powerfully showhow current aesthetic practices that engage migration provide us with a new vocabulary, necessary to restore the figure of the migrant to his or her fullness and complexity as an individual. Interestingly, Anam’s article begins by analyzing literature that tries to do the opposite, that is, works of fiction that cast migrants as hordes of invading barbarians. She focuseson recent examples ofAnglophone and French fiction that, in figuringmigration as an apocalyptic event that threatens to destroy European civilization, epitomize Europe’s transition from an outward-looking “colonial utopianism,”with its attendant myth of mission civilisatrice, to current nationalisms that cast the continent as a colonized victim of mass migration.2 This is the same ideological shift that has been analyzed in the US context, where the myth of the frontier and imperialist expansion has given way to that of the border, with its racialized and classed rhetoric of self-protection. Amid such a hostile political and cultural climate, works of imaginative literature can respond in twoways. The first is to framemigrants as absolutely innocent subjects in desperate need of FirstWorld help. This attitude ismeant to elicit a kind
{"title":"A New Vocabulary","authors":"Gabriele Lazzari","doi":"10.7551/mitpress/11931.003.0005","DOIUrl":"https://doi.org/10.7551/mitpress/11931.003.0005","url":null,"abstract":"A lthough the history of humanity is arguably the history of its global peregrinations, at no other time than today has migration so profoundly shaped our political imaginary and public discourse. AsAchilleMbembehaswritten, “Thegovernment of humanmobility might well be themost important problem to confront theworld during the first half of the 21st century.”1On the one hand, humanmobility and any attempt to regulate it depend on geopolitical variables, economic calculations, and international treaties. On the other, migration is an experience that requires, both for displaced groups and for host communities, a constant effort to reimagine social relations, affective investments, and modes of belonging. In this context, literature has the peculiar ability to register the entanglements of collective histories and political conditions with the individualized experience of migrants, often challenging the ethnonationalist discourses that pervade today’smediascape. Three recent essays on this topic—Nasia Anam’s “The Migrant as Colonist: Dystopia and Apocalypse in the Literature of Mass Migration,” Marissia Fragkou’s “Strange Homelands: Encountering the Migrant on the Contemporary Greek Stage,” and Dominic Thomas’s “The Aesthetics of Migration, Relationality, and the Sentimography of Globality”—powerfully showhow current aesthetic practices that engage migration provide us with a new vocabulary, necessary to restore the figure of the migrant to his or her fullness and complexity as an individual. Interestingly, Anam’s article begins by analyzing literature that tries to do the opposite, that is, works of fiction that cast migrants as hordes of invading barbarians. She focuseson recent examples ofAnglophone and French fiction that, in figuringmigration as an apocalyptic event that threatens to destroy European civilization, epitomize Europe’s transition from an outward-looking “colonial utopianism,”with its attendant myth of mission civilisatrice, to current nationalisms that cast the continent as a colonized victim of mass migration.2 This is the same ideological shift that has been analyzed in the US context, where the myth of the frontier and imperialist expansion has given way to that of the border, with its racialized and classed rhetoric of self-protection. Amid such a hostile political and cultural climate, works of imaginative literature can respond in twoways. The first is to framemigrants as absolutely innocent subjects in desperate need of FirstWorld help. This attitude ismeant to elicit a kind","PeriodicalId":43905,"journal":{"name":"ENGLISH LANGUAGE NOTES","volume":"58 1","pages":"184 - 186"},"PeriodicalIF":0.1,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47897900","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-01DOI: 10.1215/00138282-8557923
Afrodesia E. McCannon
Abstract:For many European nations, the Middle Ages became the site of their national origins. However, in scholarship of the same era, the period has been subject to infantilizing defamation and dismissal, even by those who claimed to be medievalists. Studies of medieval art and literature, discussion of medieval music, historiography about the period, and so on have assessed the Middle Ages as a time of naïveté, superstition, and violence by individuals who were not fully formed. To this day, the term medieval carries the derogatory connotation of “primitive.” This language is strikingly similar to discourse about colonized and other peoples who were contemporary with the researchers of the period. Focusing on a luminary scholar of the Middle Ages, the art historian Émile Mâle, this essay explores the link between the study of the medieval sense of beauty and the discourse concerning the aesthetics of the art of colonized and indigenous peoples to consider a particular dynamic of European identity formation around the turn of the twentieth century. It argues that the medieval self, pushed away by the teleological model of history, pulled in by nationalism, ruptures and leads to recognition of an unstable European identity.
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Pub Date : 2020-10-01DOI: 10.1215/00138282-8721666
Caren Irr
E ven as border crises have intensified and travel bans have proliferated around theworld during the early 2020s, impressive new scholarship on the literature of migration has been opening prospects for new cosmopolitanisms. Recent essays by Nasia Anam, Marissia Fragkou, and Dominic Thomas all stress the importance of telling migration stories from the perspective of the migrants themselves. They each trace the path of a different diaspora (Muslim, Balkan, and African) and in so doing demonstrate how an ethnocentric and closed model of nationhood gives way to a more multidirectional, multicultural, and multilingual sensibility when the migrant’s perspective takes center stage. “TheMigrant as Colonist: Dystopia and Apocalypse in the Literature of Mass Migration,” Anam’s exploration of the tropes of apocalypse and utopia, is the most comprehensive of these three approaches to the migrant’s story.1 Anam places recent British and French novels envisioning Muslim immigrants in relation to European colonialism, describing the latter as its own form of utopian migration. As she demonstrates in her readings of the notorious French author Michel Houellebecq and the more temperate Franco-Algerian Boualem Sansal, when that out-migration reverses and the formerly colonized subjects appear in Europe, apocalyptic fears of a Muslim planet arise. Only when the migrant’s perspective is adopted, as in the fiction of Nadeem Aslam and Mohsin Hamid, does the apocalyptic sensibility loosen its hold and allow for the emergence of the globalmigrant as a world citizen. Meanwhile, in “Strange Homelands: Encountering the Migrant on the Contemporary Greek Stage,” Fragkou gives an account of contemporary Greek docudrama that turns its attention to the migrant’s voice and language.2 She explains how recent works by Laertis Vasiliou, Thanasis Papathanasiou andMichalis Reppas, and Anestis Azas and Prodromos Tsinikoris undercut nationalist assumptions of Greek standardization and superiority by incorporating Albanian, Bulgarian, and Georgian words, bodies, and motifs. The heteroglossic results make visible the presence of a multilingual population; in so doing, they disrupt the efforts at national cleansing associated with the Golden Dawn and other right-wing nationalisms.
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Pub Date : 2020-10-01DOI: 10.1215/00138282-8557777
Tarren Andrews
M edieval studies is experiencing an Indigenous “turn.”1 Like other turns that have preceded this one—semiotic, feminist, postcolonial—there is a sense of urgency to it, due in part to the practical and ethical questions raised by any change to entrenched methodologies and ways of thinking. Unique to this turn, however, are the epistemic concerns central to Indigenous studies and global Indigenous communitieswhose knowledges and experiences cannot be fully articulated or realized within Euro-American ontological frameworks. When taking up an epistemically different and politically active discipline like Indigenous studies, medievalists must first attend to lived reality of Indigenous peoples: what has it meant and what does it mean to be Indigenous? What is the role of Indigeneity as an analytic category?2 What goals are Indigenous studies scholars supporting, and how can disciplines like medieval studies contribute to them? In addition to these questions about contemporary Indigenous peoples and Indigeneity as an analytic category, the Indigenous turn in medieval studies also requires reflexive examinations: How does the fraught history of medieval studies, with its ties to imperialism and role in colonialism, complicate a sincere coalitionwith Indigenous studies and Indigenous scholars? Ismedieval studies’ current interest in Indigenous studies fleeting? If so, can we approach Indigenous studies in an effective and ethical way? If not, how do we reinvent our praxis and ethos to account for the vulnerability of our Indigenous partners? Medieval and Indigenous studies scholars cannot expect these questions to be answered in a vacuum. Arriving at any substantive answers requires not only a “looking in” by medieval studies but also a “looking back” by Indigenous studies.
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Pub Date : 2020-10-01DOI: 10.1215/00138282-8557910
Helen Young
Abstract:This article considers how medievalism, particularly in its academic form of medieval studies, might contribute to decolonization through exploration of how the Western “cultural archive” (Smith, Decolonizing Methodologies) draws on the teleological temporality embedded in the idea of the “medieval” to rationalize “white possessive logics” (Moreton-Robinson, White Possessive). It explores medievalisms in legal, mainstream, and academic contexts that focus on Indigenous land rights and law in the Australian settler-colonial state. It examines the High Court of Australia’s ruling in Mabo and Others v. Queensland (2) (1992), a landmark case that challenged the legal doctrine of terra nullius, on which claims to British sovereignty were founded, and on comparisons of Anglo-Saxon and Indigenous law in the post-Mabo era.
摘要：本文探讨了中世纪主义，特别是中世纪研究的学术形式，通过探索西方“文化档案”（Smith，《去殖民化方法论》）如何利用“中世纪”思想中的目的论时间性来合理化“白人占有逻辑”（Moreton Robinson，《白人占有逻辑》），可能有助于去殖民化。它探讨了法律、主流和学术背景下的中世纪主义，重点关注澳大利亚定居者殖民州的土著土地权利和法律。它审查了澳大利亚高等法院在1992年Mabo and Others v.Queensland（2）一案中的裁决，这是一个具有里程碑意义的案件，挑战了英国主权主张所依据的无主地法律原则，并对后Mabo时代的盎格鲁撒克逊和土著法律进行了比较。
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