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inauthor:"Gillian R. Overing" from books.google.com
First published in 2001, Double Agents was the first book-length study of women in Anglo-Saxon written culture that took on the insights provided by contemporary critical and feminist theory, and it quickly established itself as a standard.
inauthor:"Gillian R. Overing" from books.google.com
This is not a book about what Beowulf means but how it means and how the reader participates in the process of meaning construction; to this end, it is a bringing together of contemporary critical theory and Old English poetry.
inauthor:"Gillian R. Overing" from books.google.com
Thought-provoking and evocative, this is a book that will have an impact that far belies its modest length.’ – Linda Anderson, Newcastle University
inauthor:"Gillian R. Overing" from books.google.com
First printed in 2001 by the University of Pennsylvania Press, this book has been out of print for several years and is highly sought after by researchers in the field of Medieval cultural studies.
inauthor:"Gillian R. Overing" from books.google.com
'An extraordinary rich study of the power of place in the Northern medieval world by two medievalists, who are also 'compleat geographers' in that they do fieldwork that is always informed by theory and they demonstrate exceptional ...
inauthor:"Gillian R. Overing" from books.google.com
At a time when Medieval Studies cannot afford to ignore the period's popular uptake - cannot continue with business as usual in the face of white supremacists' brazen appropriations of the Middle Ages - this volume points to new ...
inauthor:"Gillian R. Overing" from books.google.com
The essays in A Place to Believe In reveal places real and imagined, ancient and modern: Anglo-Saxon Northumbria (home of Whitby and Bede&’s monastery of Jarrow), Cistercian monasteries of late medieval Britain, pilgrimages of mind and ...
inauthor:"Gillian R. Overing" from books.google.com
The Contemporary Medieval in Practice looks at early medieval British culture, often termed Anglo-Saxon Studies (c. 500-1100), and its relation with, use of, and re-working in contemporary visual, poetic, and material culture (after 1950).