Compositional Techniques in Anglo-Saxon Verse Hagiography

我的哲学博士项目解决了古英语诗歌中的作曲技巧的理解和欣赏。而不是过度关注几十年来的口头公式化的组成和传输的概念，它是盎格鲁-撒克逊诗歌的文学性和它的美学，它的互文性，以及它的接受是我的调查旨在促进知识的领域。经过深思熟虑、深思熟虑和高度文学化的写作实践允许有针对性的典故，各种创新的文学公式化的写作技巧，以及世俗英雄和拉丁基督教价值观的想象力和艺术融合，这些都在构成我主要语料库的古英语诗歌圣徒传中特别多产（朱莉安娜，艾琳，古特拉克A和B，安德烈亚斯和朱迪思），往往被这一时期的“英雄”诗歌所掩盖。确定文学美学和互文性的相互作用，在白话诗歌hagiography显示诗人回应批判性和批判性的先前存在的文本，并补充这些文本的理解和享受盎格鲁-撒克逊和现代的关键观众。批评范式的转变，更多的研究工具，以及长期坚持的批评的削弱，都意味着古英语诗歌创作的问题需要紧急重新考虑。作为一名中世纪学者，我的工作本质上是跨学科的：没有必要的语言能力，就无法从事任何文学工作，如果不采用历史、文化和神学的考虑进行分析，中世纪世界的文学将只存在于一个无法理解的真空中。我在古英语和拉丁语的主要文本不仅是多语言和多元文化，但跨体裁划分，历史时代，以及个人和非个人作者的问题。我的方法结合文学，语言学和诗歌的密切阅读，源批评，类比比较与系统的语义检查和实证语料库分析。通过牛津大学的盎格鲁-撒克逊诗歌综合图书馆项目，我的项目广泛使用并展示了新研究工具的独特功能，所有这一切都是为了缓解盎格鲁-撒克逊英格兰更普遍研究的诗歌的整个语料库，并通过CLASP提供的创新技术数据形成对语言，媒介，物质和意义的文学分析。在我的研究项目的过程中，我将寻求确定和阐明证据，例如，从拉丁来源的许多遗漏和改动与古英语叙事诗的情感合作，文学公式化的分布和复合的白话美学实践与转化为一个圣洁的叙事旧约书朱迪思合作的过程，诗人们沉溺于以前被低估的、敏锐的创作实践，将古英语世俗诗歌的假设、传统和特征用于奇异的目的。这样的结论，旨在促进我们对古英语诗歌创作实践的理解，在高生产力的背景下，混合世俗和神圣的“艺术生命”。我也有兴趣在comparanda范围从盎格鲁-拉丁诗歌和古英语散文简历，中世纪hagiography在其他方言，以及历史，神学和非文学的圣徒和圣人的discriminations.博士培训合作伙伴关系为我提供了一个完美的机会来发展所需的研究技能和专业知识.我希望利用他们的支持和他们的战略合作伙伴的支持，以扩大中世纪研究的当代相关性，打击那些妖魔化中世纪时期或错误地武器化“中世纪”意识形态，并合作和交流知识与学术界的人文和观众的一般公众一样。

My DPhil project addresses the understanding and appreciation of compositional techniques in Old English poetry. Rather than focusing inordinately on decades-old notions of oral-formulaic composition and transmission, it is the literariness of Anglo-Saxon poetry and its aesthetics, its intertextuality, and its reception which are the areas of knowledge my investigations aim to promote. Considered, deliberate, and highly literary compositional practices allow for pointed allusion, a variety of innovative literary-formulaic compositional techniques, and the imaginative and artistic blending of secular-heroic and Latinate-Christian values, are all particularly productive in the Old English verse hagiographies that form my primary corpus (Juliana, Elene, Guthlac A and B, Andreas, and Judith), often overshadowed by the 'heroic' poems of the period. Identifying literary aesthetics and intertextual interactions in vernacular poetic hagiography shows poets responding critically and imaginatively to preexisting texts, and supplements the understanding and enjoyment of these texts for both Anglo-Saxon and modern critical audiences. Shifting critical paradigms, more research tools, and the undermining of long-held certainties, all mean that questions of Old English poetic composition need urgent reconsideration. As a medievalist, my work is inherently interdisciplinary: without the requisite linguistic capabilities, none of the literary work could be undertaken, and without employing historical, cultural and theological considerations in analysis, the literature of the medieval world would exist only in an unintelligible vacuum. My primary texts in Old English and Latin are not only multilingual and multicultural, but cross genre divides, historical eras, and questions of individual and non-individual authorship. My methodology combines literary, linguistic and poetic close reading, source criticism, and analogue comparison with systematic semantic examination and empirical corpus analysis. Making extensive use of and showcasing the unique functionalities of new research tools which are becoming available via the Oxford-based Consolidated Library of Anglo-Saxon Poetry project, my project does all of this in relief of the entire corpus of the more-commonly studied poetry of Anglo-Saxon England, and forms its literary analysis of language, medium, matter and sense upon innovative technical data available via CLASP. During the course of my research project, I will seek to identify and elucidate evidence that, for example, many omissions and alterations from Latin sources cooperate with Old English narrative poetic sensibilities, that vernacular aesthetic practices of literary-formulaic distribution and compounding collaborate with the process of transforming the Old Testament Book of Judith into a saintly narrative, and that poets indulged in previously-underestimated and perspicacious compositional practices, employing the assumptions, traditions and characteristics of Old English secular poetry to singular ends. Conclusions such as these aim to advance our understanding of practices of Old English versification, in the highly-productive context of the hybrid secular and sacred 'art vitae'. I am also interested in comparanda ranging from Anglo-Latin poetry and Old English prose vitae, to medieval hagiography in other vernaculars, as well as historical, theological and non-literary depictions of saints and sainthood.The Doctoral Training Partnership provides me the perfect opportunity to develop both the requisite research skills and professional expertise. I hope to use their support and the support of their strategic partners to extend the contemporary relevance of medieval studies, to combat those who demonise the medieval period or falsely weaponise 'medievalist' ideology, and to collaborate and exchange knowledge with academics across the humanities and audiences of the general public alike.