Virtually Anglo-Saxon: Old Media, New Media, and Early Medieval Studies in the Late Age of Print by ProQuest


Observing that digital culture will fundamentally change both the tools and the epistemology of Anglo-Saxon studies, Foys ends the chapter by setting up a key theme of the discussion in subsequent chapters, arguing that digital technology now offers the prospect of recovering "aspects of the Anglo-Saxon world that have remained unaccounted for in print" (34-35). Anselm's Meditations, a collection that Foys views, in its "permeability," its non-linearity and its aim of linking to a (spiritual) world beyond the text, as a kind of hypertext, with the reader deciding how much or which parts of the text to read in order to be led to prayer; the Bayeux Tapestry, with its "missing end" frustrating the desire for closure, another creation that Foys understands in digital terms, drawing attention to its combination of linear and spatial narrative; the Anglo-Saxon mappamundi in the eleventh-century manuscript Cotton Tiberius B. v, which, underpinning his analysis with an alert discussion of cartographical theory, Foys describes as medieval multimedia, having a spatial as well as a textual mode; and the Anglo-Scandinavian Nunburnholme Cross, a sculpture, now damaged to the point of near unintelligibility, that was worked upon by three or more sculptors in different styles and to different purposes over a period of a century and a half.

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