Was Egil’s Saga ‘written’ by Snorri Sturluson or by more than one person? Was it embellished by Snorri or others? Where did the Brúnanburh traditions come from? Is it accurate enough to be used as a historic source – a factual reference? This study aims to identify the incongruities within this saga demonstrating a correct analysis.

Was Egil's Saga 'written' by Snorri Sturluson or by more than one person? Was it embellished by Snorri or others? Where did the Brúnanburh traditions come from? Is it accurate enough to be used as a historic source - a factual reference? This study aims to identify the incongruities within this saga demonstrating a correct analysis.

In this study the author uses topographic references found in the manuscript of the poem ‘Brúnanburh’ to try and locate the ‘site’ of this momentous battle. The first references were maritime then latterly landscape leading to field-names which have a more stable base than the constantly changing place-names.

The powerful and innovative King AEthelstan reigned only briefly (924-939), yet his achievements during those eventful fifteen years changed the course of English history. He won spectacular military victories (most notably at Brunanburh), forged unprecedented political connections across Europe, and succeeded in creating the first unified kingdom of the English. To claim for him the title of "first English monarch" is no exaggeration.In this nuanced portrait of AEthelstan, Sarah Foot offers the first full account of the king ever written. She traces his life through the various spheres in which he lived and worked, beginning with the intimate context of his family, then extending outward to his unusual multiethnic royal court, the Church and his kingdom, the wars he conducted, and finally his death and legacy. Foot describes a sophisticated man who was not only a great military leader but also a worthy king. He governed brilliantly, developed creative ways to project his image as a ruler, and devised strategic marriage treaties and gift exchanges to cement alliances with the leading royal and ducal houses of Europe. AEthelstan's legacy, seen in the new light of this masterful biography, is inextricably connected to the very forging of England and early English identity.

Medieval Icelandic authors wrote a great deal on the subject of England and the English. This new work by Magnús Fjalldal is the first to provide an overview of what Icelandic medieval texts have to say about Anglo-Saxon England in respect to its language, culture, history, and geography. Some of the texts Fjalldal examines include family sagas, the shorter þættir, the histories of Norwegian and Danish kings, and the Icelandic lives of Anglo-Saxon saints. Fjalldal finds that in response to a hostile Norwegian court and kings, Icelandic authors - from the early thirteenth century onwards (although they were rather poorly informed about England before 1066) - created a largely imaginary country where friendly, generous, although rather ineffective kings living under constant threat welcomed the assistance of saga heroes to solve their problems. The England of Icelandic medieval texts is more of a stage than a country, and chiefly functions to provide saga heroes with fame abroad. Since many of these texts are rarely examined outside of Iceland or in the English language, Fjalldal's book is important for scholars of both medieval Norse culture and Anglo-Saxon England.

"Gathers together for the first time the key historical and literary primary sources for the study of the Battle of Brunanburh in their language of origin with facing-page translations and explanatory notes. Many of the sources are translated here for the first time."--Page 4 of cover.

The vernacular Anglo-Saxon Chronicles cover the centuries which saw the making of England and its conquest by Scandinavians and Normans. After Alfred traces their development from their genesis at the court of King Alfred to the last surviving chronicle produced at the Fenland monastery of Peterborough. These texts have long been part of the English national story. Pauline Stafford considers the impact of this on their study and editing since the sixteenth century, addressing all surviving manuscript chronicles, identifying key lost ones, and reconsidering these annalistic texts in the light of wider European scholarship on medieval historiography. The study stresses the plural 'chronicles', whilst also identifying a tradition of writing vernacular history which links them. It argues that that tradition was an expression of the ideology of a southern elite engaged in the conquest and assimilation of old kingdoms north of the Thames, Trent, and Humber. Vernacular chronicling is seen, not as propaganda, but as engaged history-writing closely connected to the court, whose networks and personnel were central to the production and continuation of these chronicles. In particular, After Alfred connects many chronicles to bishops and especially to the Archbishops of York and Canterbury. The disappearance of the English-speaking elite after the Norman Conquest had profound impacts on these texts. It repositioned their authors in relation to the court and royal power, and ultimately resulted in the end of this tradition of vernacular chronicling.

Oral epic poetry is still performed by Turkic singers in Central Asia. On trips to the region, Karl Reichl collected heroic poems from the Uzbek, Kazakh, and Karakalpak oral traditions. Through a close analysis of these Turkic works, he shows that they are typologically similar to heroic poetry in Old English, Old High German, and Old French and that they can offer scholars new insights into the oral background of these medieval texts.Reichl draws on his research in Central Asia to discuss questions regarding performance as well as the singers' training, role in society, and repertoire. He asserts that heroic poetry and epic are primarily concerned with the interpretation of the past in song: the courageous deeds of ancestors, the search for tribal and societal roots, and the definition and transmission of cultural values. Reichl finds that in these traditions the heroic epic is part of a generic system that includes historical and eulogistic poetry as well as heroic lays, a view that has diachronic implications for medieval poetry.Singing the Past reminds readers that because much medieval poetry was composed for oral recitation, both the Turkic and the medieval heroic poems must always be appreciated as poetry in performance, as sound listened to, as words spoken or sung.