Fragments of History: Rethinking the Ruthwell and Bewcastle Monuments

Description

Fragments of history: Rethinking the Ruthwell and Bewcastle monuments is an innovative study of the two premier survivals of pre-Viking Anglo-Saxon stone sculpture. Both monuments are rich in finely carved images and complex inscriptions. Though in some way related, in this book, they have very different histories. This ambitious study draws the reader in through a vivid exposition of the problems left by earlier interpretations, shows him or her how to understand the monuments as social products in relation to a history of which our knowledge is so fragmentary, and concludes with a deeply persuasive discussion of their underlying premises. Orton, Wood and Lees bring their research in art history and antiquarianism, history and archaeology, medieval literature, philosophy and gender studies into a successful and coherent whole, organised around certain key notions, such as place, history and tradition, style, similarity and difference, time, textuality and identity. Theoretically astute, rigorously researched, vivid and readable, Fragments of history is a model of how interdisciplinary research can be conducted, written and published. It will be required reading in a number of disciplines, including art history, Anglo-Saxon studies, medieval language and literature, history and ecclesiastical history, antiquarianism and archaeology. -- .

Fred Orton is Professor of Art History and Theory at the University of LeedsIan Wood is Professor of Early Medieval History at the University of LeedsClare Lees is Professor of English at King's College, University of London

'This is an exemplary piece of interdisciplinary research. It is the fruit of a long process of collaboration and conversation between friends engaged by a profound intellectual problem. Yet what is also so powerful about the text is that it reminds us that these monuments are themselves documents of social power and conflict. It reminds us what a complex history of conquest and struggle and of ethnic difference and religious conflict is covered by the terms "English" and "British". In this respect, its story connects profoundly with our own times. It also demonstrates that far from theoretical sophistication and empirical rigour being antagonistic towards each other, they are necessary complements. In this regard it is a salutary lesson in how to do art history.'Andrew Hemingway, Professor of Art History at University College London