By Catherine E. Karkov, George Hardin Brown
Considers the definitions and implications of fashion in Anglo-Saxon paintings and literature.
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Additional resources for Anglo-Saxon Styles
Indeed, it undoes itself in the emphasis it puts on continuity rather than discontinuity and, thereafter, in the inevitable discursive inequality that results from the need to privilege similarity over difference. The idea of style relies on similarity. ” Even if two objects could have precisely the same form, the difference between them would be that they were different. While we usually take similarity as offering empirical evidence on which to base metaphors or principles of discrimination and classiﬁcation, judgments of similarity usually follow from metaphorical modes or 42 Fred Orton principles of classiﬁcation already established.
Middlemass) and the problems of its formation and change. He, too [like the archaeologist], uses style as a criterion of the date and place of origin of works, and as a means of tracing relationships between schools of art. . It is, besides, a common Rethinking the Ruthwell and Bewcastle Monuments 37 Image rights unavailable. Figure 6. Bewcastle monument, north side (photo: © Department of Archaeology, University of Durham. Photographer T. Middlemass) ground against which innovations and the individuality of particular works may be measured.
Brown, cat. no. , ed. Susan Youngs (London, 1989), 110. 21. Dominic Tweddle, The Anglian Helmet from Coppergate, The Archaeology of York, The Small Finds, 17/8 (London, 1992). 22. , ﬁgs. 434–439, 441, 444, 445, 598. 23. Leslie Webster, “The Iconographic Programme,” in Hawkes and Mills, Northumbria’s Golden Age. 24. See Webster and Backhouse, Making of England, cat. no. 138, 177–79. 25. –26. März, 1999, ed. Regine Marth and Silke Gatenbröker (Braunschweig, 2000), 63–72. 26. David Pratt, “Persuasion and Invention at the Court of Alfred the Great,” in Court and Culture in the Early Middle Ages: Proceedings of the First York Alcuin Conference, ed.
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