Download Double Agents: Women and Clerical Culture in Anglo-Saxon by Clare A. Lees PDF
By Clare A. Lees
First released in 2001, Double brokers was the 1st book-length learn of girls in Anglo-Saxon written tradition that took at the insights supplied by means of modern serious and feminist concept, and it quick tested itself as a typical. Now on hand back, it complicates the exclusion of ladies from the historic list of Anglo-Saxon England through tackling the deeper questions in the back of how the female is modeled, used, and made metaphoric in Anglo-Saxon texts, even if the ladies themselves are absent.
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Extra resources for Double Agents: Women and Clerical Culture in Anglo-Saxon England
Example text
Breguswith by contrast, in the role of the soon-to-be mother Mary, is produced in the service of familiar hagiographical convention. 17 Maternity does keep circling sacred narratives. Conventions are products of processes of naturalization; it is easy enough to read Breguswith’s dream as mere hagiographical convention. Whence, perhaps, the fact that neither Bede, nor the Old English translator, nor subsequent readers have registered the unfamiliar in Breguswith’s dream. But there is more than a touch of the uncanny about the dream: the maternal Breguswith looks under her garment (‘sub ueste’) and finds a symbolically female object – a necklace – in a blaze of light.
There is change, certainly, as well as difference throughout the period in the configurations of representational and restrictive practices concerning both women’s and men’s bodies and their control over them. But there is a danger in using the apparent decline of the status of women at the end of the Anglo-Saxon period to posit and celebrate a ‘golden age’ for women in the early heyday of monasticism. The before-and-after model, while validated by certain legal and historical developments, obscures difference as well as aspects of continuity.
Cædmon’s song is divinely inspired, as Bede emphasizes, and he draws others to the faith by singing Christian songs that have the power to move, perhaps even to convert. This is a powerful originary moment in the history of English Christianity – the moment when the native (Germanic) traditions of oral song-making are allied with the subject of Christianity and harnessed for the faith. Others could sing before Cædmon, but only Cædmon, divinely inspired and remaining illiterate, sings Christian songs.