Sigvatr’s tears: the phenomenology of emotion in Skaldic verse
May 2022
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Journal article
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Leeds Medieval Studies
This article suggests that skaldic verse — as a direct result of its famously complex formal features — is able to encode and convey complex, dynamic emotional interiorities in ways that move beyond the possibilities of saga prose. Through a close analysis of Sigvatr Þórðarson’s lausavísa 20 that is attuned to the temporal nature of reading, it is shown that common features of skaldic poetics — including dislocated syntax, tmesis, and obscure and ambiguous diction — can function to stage the unfolding of emotion through time and to evoke the oscillation between, and synthesis of, varied emotional states.
FFR
Masculinities in Old Norse Literature
October 2020
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Edited book
Afterword:
July 2020
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Chapter
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Masculinities in Old Norse Literature
Afterword: The Ethics and Urgency of Studying Old Norse Masculinities
July 2020
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Chapter
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Masculinities in Old Norse Literature
History
Female Masculinity and the Sagas of Icelanders
July 2020
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Chapter
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Masculinities in Old Norse Literature
Introduction
July 2020
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Chapter
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Masculinities in Old Norse Literature
Introduction
July 2020
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Chapter
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Masculinities in Old Norse Literature
History
Masculinities in Old Norse Literature
July 2020
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Edited book
Men and Masculinities in the Sagas of Icelanders
January 2019
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Book
Focuses on the representation of masculinities in the Sagas of Icelanders and comprehensively interrogates the construction, operation, and problematization of masculinities in this genre.
Michael Hirst's Vikings and Old Norse Poetry
October 2017
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Chapter
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Translating Early Medieval Poetry
An unwitting return to the medieval: postmodern literary experiments and middle english textuality
August 2015
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Journal article
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Neophilologus
<p style="text-align:justify;"> Scholarship on postmodern literary experiments tends to hail modes of textuality that deviate from the contemporary norm of the printed page and the codex as new and revolutionary. But such attitudes to emergent literary forms fail to recognise medieval precursors to these apparently new developments. Indeed, regarding these works as an experimental—and therefore novel—aspect of (post)modern literary production contributes to a larger trend, ultimately a function of the periodisation of literature, in which the medieval is seen as entirely Other to the modern. As a result of this conceptual break, postmodern literary experiments tend to enact, and embody, an unwitting return to medieval modes of textuality. </p>