VIEWS: 6 PAGES: 3 CATEGORY: Humanities POSTED ON: 5/27/2010
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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"Virtually Anglo-Saxon: Old Media, New Media, and Early Medieval Studies in the Late Age of Print"Please download to view full document