The social fact of movement is a significant underlying feature of early medieval Northumbria, as it is for other regions and other periods. The eighth-century Anglo- Latin hagiographical tradition that centres on Bede (673-735) is not known for its articulacy concerning travel, and what is expressed might well be overlooked for its brevity. This thesis explores the relationship between allegories and symbolism, and the underlying travel-culture in prose histories and hagiographies produced in Northumbria in the early eighth century. It demonstrates the wide extent to which travel was meaningful. The range of connotations applied to movement and travel motifs demonstrate a multi-layered conceptualization of mobility, which is significant beyond the study of travel itself. In three sections, the thesis deals first with the mobility inherent in early medieval monasticism and the related concepts that influence scholarly expectations concerning this travel. The ideas of stabilitas and peregrinatio are explored in their textual contexts. Together they highlight that monastic authors were concerned with the impact of movement on discipline and order within monastic communities. However, early medieval monasticism also provided opportunities for travel and benefitted from that movement. Mobility itself could be praised as a labour for God. The second section deals with how travel was narrated. The narrative role of sea, land, and long-distance transport provide a range of stimuli for the inclusion and exclusion of travel details. Whilst figurative allegory plays its part in explaining both the presence and absence of sea travel, other, more mundane meanings are applied to land transport. Through narratives, those who were unable to travel great distances were given the opportunity to experience mobility and places outside of their homes. The third section builds on this idea of the experience of movement, teasing out areas where a textual embodiment of travel was significant, and those where the contrasting textual experience of travel is illustrative of narrative techniques and expectations. This section also looks at the hagiographical evidence for wider experiences of mobility, outside of the travel of the hagiographical subjects themselves. It demonstrates the transformation of the devotional landscape at Lindisfarne and its meaning for the social reality of movement. This wide-ranging exploration of the theme of mobility encourages the development of scholarship into movement, and into the connections between travel and other aspects of society.

This thesis explores the experiences of rural communities who lived between the seventh and ninth centuries in central and eastern England. Utilising archaeological evidence as the primary source for study, the central aim of this thesis is to demonstrate the ways in which settlement remains can provide a picture of contemporary social, economic and political conditions in ‘Middle Saxon’ England. Analysis of archaeological evidence from currently-occupied rural settlements represents a particularly unique and informative dataset to accomplish this central aim, and when combined with other forms of evidence illustrates that the seventh to ninth centuries was a period of fundamental social change, that impacted rural communities in significant and lasting ways. The transformation of settlement character was part of a more widespread process of landscape investment during the ‘Middle Saxon’ period, as rapidly stratifying social institutions began to manifest power and influence through new means. Such an analysis represents a significant departure from the prevailing scholarly outlook of the early medieval landscape, which continues to posit that the countryside of England remained largely unchanged until the development of historic villages from the ninth century onward. In this regard, the evidence presented by this thesis from currently-occupied rural settlements provides substantial backing to the idea that many historic villages emerged as part of a two-stage process which began during the ‘Middle Saxon’ period. Whilst it was only following subsequent change that recognisable later village plans began to take shape, key developments between the seventh and ninth centuries helped articulate the form and identity of rural centres, features that in many instances persisted throughout the medieval period and into the present day.

The Song of the Vineyard, Isaiah 5:1-7, portrays YHWH as a vinedresser who has carefully prepared land and planted a choice vine, a symbol of the people whom the deity has chosen. When the reasonable expectation that the vine produce good fruit is thwarted, the vinedresser destroys the vineyard. YHWH, the vinedresser, may seem to be characterised by these actions as a demanding god who will swiftly and harshly recompense any failure to meet expectations. This thesis poses the hypothesis that although this brief song may at first seemingly present a monochromatic characterisation of YHWH, it may actually present a spectrum of characterisations when viewed through multiple interpretive lenses. Socio-rhetorical criticism is the methodology used to examine this hypothesis. This methodology, developed by Vernon K. Robbins, encompasses diverse interpretive approaches, examining five aspects, or “textures,” of the text to obtain a broad interpretive spectrum. In this thesis, three of the textures, innertexture, intertexture, and socio-cultural texture, are considered in separate chapters. The chapter on innertexture examines the world of the text itself, in particular its progressive nature and emotive content. The next chapter examines the intertextural relationship between this Isaian song and two other ancient songs (The Song of the Reed Sea and the Song of Moses), associative references to Sodom, and parallels with the Song of Solomon. The chapter on the socio-cultural texture examines the portrayal of YHWH in light of the socio-economics and socio-cultural values of the world of the story, eighth century B.C.E. Judah. Through this interpretive lense, YHWH is seen as a patron or benefactor who has been dishonoured by his people. In socio-rhetorical criticism, ideology is often presented as a separate texture; in this thesis, it is considered as part of the act of interpretation of all textures, since readers’ ideologies interact with the text. The sacred texture, the last of Robbins’ proposed textures, is presented as the conclusion, with a summary of the spectrum of characterisations of YHWH that the multi-lensed interpretive approach uncovers. The conclusion also includes suggested implications of these finds for the community of faith. / Old Testament & Ancient Near Eastern Studies / D. Litt. et Phil. (Biblical Studies)

The Song of the Vineyard, Isaiah 5:1-7, portrays YHWH as a vinedresser who has carefully prepared land and planted a choice vine, a symbol of the people whom the deity has chosen. When the reasonable expectation that the vine produce good fruit is thwarted, the vinedresser destroys the vineyard. YHWH, the vinedresser, may seem to be characterised by these actions as a demanding god who will swiftly and harshly recompense any failure to meet expectations. This thesis poses the hypothesis that although this brief song may at first seemingly present a monochromatic characterisation of YHWH, it may actually present a spectrum of characterisations when viewed through multiple interpretive lenses. Socio-rhetorical criticism is the methodology used to examine this hypothesis. This methodology, developed by Vernon K. Robbins, encompasses diverse interpretive approaches, examining five aspects, or “textures,” of the text to obtain a broad interpretive spectrum. In this thesis, three of the textures, innertexture, intertexture, and socio-cultural texture, are considered in separate chapters. The chapter on innertexture examines the world of the text itself, in particular its progressive nature and emotive content. The next chapter examines the intertextural relationship between this Isaian song and two other ancient songs (The Song of the Reed Sea and the Song of Moses), associative references to Sodom, and parallels with the Song of Solomon. The chapter on the socio-cultural texture examines the portrayal of YHWH in light of the socio-economics and socio-cultural values of the world of the story, eighth century B.C.E. Judah. Through this interpretive lense, YHWH is seen as a patron or benefactor who has been dishonoured by his people. In socio-rhetorical criticism, ideology is often presented as a separate texture; in this thesis, it is considered as part of the act of interpretation of all textures, since readers’ ideologies interact with the text. The sacred texture, the last of Robbins’ proposed textures, is presented as the conclusion, with a summary of the spectrum of characterisations of YHWH that the multi-lensed interpretive approach uncovers. The conclusion also includes suggested implications of these finds for the community of faith. / Biblical and Ancient Studies / D. Litt. et Phil. (Biblical Studies)

Ancient Maya inscription carvers at the city of Palenque in what is now Chiapas, Mexico worked in teams to complete large and complex stone tablets. Like artists everywhere, they each had developed idiosyncratic habits which the modern connoisseur can learn to discern, in order to identify which parts of a particular monument were sculpted by one or another artist. The author scrutinized several eighth-century CE inscriptions, panels in stucco and limestone, analyzing how many artists worked on each, to wit: the Temple XVIII Stuccos, the Temple XIX Platform, the Temple XIX Stuccos, the Temple XIX Panel, the Panel of the 96 Glyphs, the Lápida de la Creación and associated fragments, the Palace Tablet and its associated fragmentary panels, and the Tablet of the Slaves. The ensemble whose main components are the Panel of the 96 Glyphs and the Lápida de la Creación are all by one hand, and the Tablet of the Slaves was the work of four carvers, but the Temple XIX Platform surprisingly employed fourteen carvers, and the Palace Tablet over a score. Their territories were not divided textually, and display idiosyncratic spellings of glyph compounds as well as carving habits. The conclusion discusses possible reasons for these findings, relating them to the unusual Maya practice of never correcting mistakes in monumental inscriptions. A likely reason seems to be that the ancient Maya considered these texts not merely as a permanent record, but as ongoing, living repetitions of the ritual in question, and had to be completed in a very short time. / text