This volume brings to light material evidence to further our knowledge of Anglo-Saxon England.

Research into the emotions is beginning to gain momentum in Anglo-Saxon studies. In order to integrate early medieval Britain into the wider scholarly research into the history of emotions (a major theme in other fields and a key field in interdisciplinary studies), this volume brings together established scholars, who have already made significant contributions to the study of Anglo-Saxon mental and emotional life, with younger scholars. The volume presents a tight focus - on emotion (rather than psychological life more generally), on Anglo-Saxon England and on language and literature - with contrasting approaches that will open up debate. The volume considers a range of methodologies and theoretical perspectives, examines the interplay of emotion and textuality, explores how emotion is conveyed through gesture, interrogates emotions in religious devotional literature, and considers the place of emotion in heroic culture. Each chapter asks questions about what is culturally distinctive about emotion in Anglo-Saxon England and what interpretative moves have to be made to read emotion in Old English texts, as well as considering how ideas about and representations of emotion might relate to lived experience. Taken together the essays in this collection indicate the current state of the field and preview important work to come. By exploring methodologies and materials for the study of Anglo-Saxon emotions, particularly focusing on Old English language and literature, it will both stimulate further study within the discipline and make a distinctive contribution to the wider interdisciplinary conversation about emotions.

Works on Anglo-Saxon kingship often take as their starting point the line from Beowulf: ‘that was a good king’. This monograph, however, explores what it means to be a king, and how kings defined their own kingship in opposition to other powers. Kings derived their royal power from a divine source, which led to conflicts between the interpreters of the divine will (the episcopate) and the individual wielding power (the king). Demonstrating how Anglo-Saxon kings were able to manipulate political ideologies to increase their own authority, this book explores the unique way in which Anglo-Saxon kings understood the source and nature of their power, and of their own authority.

Pettit, a specialist in English language and literature before 1525, assumes that readers have at hand and open the first volume, which contains the texts themselves, and so dives into his line-by-line commentary without introduction or explanation. He refers to the texts by entry number rather than page. His 70-page bibliography of works cited and principal works consulted does not duplicate the list of Abbreviations and Signs (Volume One). He does not provide an index. The text is double spaced. The sewn binding and cloth cover are high quality. c. Book News Inc.

In the present volume, the two essays that frame the book provide exciting insight into the mental world of the Anglo-Saxons by showing on the one hand how they understood the processes of reading and assimilating knowledge and, on the other, how they conceived of time and the passage of the seasons. In the field of art history, two essays treat two of the best-known Anglo-Saxon manuscripts. The lavish symbol pages in the 'Book of Durrow' are shown to reflect a programmatic exposition of the meaning of Easter, and a posthumous essay by a distinguished art historian shows how the Anglo-Saxon illustrations added to the 'Galba Psalter' are best to be understood in the context of the programme of learning instituted by King Alfred. The usual comprehensive bibliography of the previous year's publications in all branches of Anglo-Saxon studies rounds off the book.

This is a large format introduction to the Anglo-Saxon world, focusing on its spiritual and literary heritage. A large part of the book is dedicated to the Anglo-Saxon Rune Poem, the most complete account of runic writing we have inherited. The runic signs and riddles which accompany each of them (presented in Old English and modern translation) are dramatically brought to life by Brian PartridgeAes evocative drawings.